Louis Finson Sold at Auction Prices

Louis Finson, 1580 Brügge – 1617 Amsterdam, zugeschrieben

ADONIS Öl auf Leinwand. Altdoubliert. 113 x 160 cm. Ungerahmt. Das großformatige, thematisch äußerst seltene Thema zeigt den nackten Adonis nur mit einem Ziegenfell dürftig bekleidet, in abendlich abgedunkelter Landschaft, auf einem Waldboden liegend. Der Oberkörper leicht aufgestützt, mit müdem Gesichtsausdruck, die Augen nur leicht träumerisch geöffnet. Das helle, blasse Inkarnat hebt sich vom dunkleren Hintergrund ab, links hinter dem Oberkörper ziehen Baumstämme hoch, im oberen Teil zeigen sich die Äste in X-förmiger Überkreuzung. Im Vordergrund Blattwerk von Lattichgewächsen sowie ein abgebrochener Ast neben einem blau wiedergegebenen Gegenstand, der einer Keule ähnelt. Im Hintergrund hügelige Landschaft unter dunklen Wolken mit zentral leicht erhelltem Wolkengebilde. Das Gemälde ist insofern von hoher kunsthistorischer Bedeutung als hier in seltener Weise der Ursprung und Vertreter des Menschengeschlechtes in melancholischer, nahezu visionärer Weise wiedergegeben wird, das Schicksal der Menschheit insgesamt bedenkend. Die Zuweisung an den Maler rechtfertigt sich aus Vergleichen mit anderen, gesicherten Werken, wobei hier auffällt, dass die betonte, über das Bild hinwegziehende, diagonale Komposition ein auffallendes Hauptmerkmal des künstlerischen Schaffens Finsons ist. Auch die bereits erwähnten, sich übereinander kreuzenden Äste in der linken oberen Ecke lassen sich in der manieristischen Stilistik durchaus vergleichen mit dem Gemälde „Allegorie der vier Elemente“ von 1611. Finsons Malstil resultiert vor allem aus seiner ersten Italienreise, in der er den Caravaggismus in seine flämische Malart eingeführt hat. Auch die Reisen nach Spanien und Frankreich, speziell in die Provence, haben den Malstil nachhaltig beeinflusst. Der seinerseits sehr erfolgreiche Maler, der auch als Gemäldevermittler tätig war, besaß selbst ein Werk von Caravaggio, das sich heute im Kunsthistorischen Museum in Wien befindet. (1421977) (13)

Louis Finson (1574-1617) – circle

Louis Finson (1574-1617) – circle, portrait of a lady with jewellery and vase holding a serviett. Oil on canvas, 96 x 77 cm.

Tableaux FINSON Louis (1580 - 1617). Attribué à. Huile sur toile maro

Tableaux FINSON Louis (1580 - 1617). Attribué à. Huile sur toile marouflée sur toile "Le Massacre des Innocents (?)". Attribué à Louis Finson. Ecole flamande. Epoque: XVIIème. Dim.:+/-140x98cm.

Louis Finson (Bruges 1580 - Amsterdam 1617), attribuito a, Martirio di San Sebastiano

olio su tela, cm 162x108

Louis Finson 1580–1617, Umkreis

Louis Finson 1580–1617, Umkreis Geisselung Christi um 1620

Louis Finson (um 1580–1617)

Geisselung Christi

Louis Finson

Louis Finson, The capture of Saint Peter oil on canvas within gilt wood frame Expertise by Giovanni Gentile, Bruges 1580 - Amsterdam 1617

Louis Finson (Bruges c. 1580-1617 Amsterdam) The Annunciation oil on canvas

Louis Finson (Bruges c. 1580-1617 Amsterdam) The Annunciation oil on canvas 46 ¾ x 58 ½ in. (118.8 x 148.6 cm.)

LOUIS FINSON (LUDOVICUS FINSONIUS) "Venere e Amore"

LOUIS FINSON Bruges 1580 - Amsterdam 1617 Venus and Love Oil on canvas cm 106 x 117,5 Signed lower left At the back written thel n.40 and the coat of arm of Fursten Carolath - Beuten  Literature Les Cahiers d' Histoire de l'Art, n.5  2007 fig.9 Expertise by Didier Bodart 12 feb 2007 "Il convient enfin d'ètudier dans ce contexte napolitain deux oeuvres signèes mais non datèes. La première est Venus et l'amour (fig9) d'une collection privèe francaise, pièce inèdite.signèee....Comme beaucoup de signatures de Finson  ... celle-ci a souffert.... Le thème est celui classique de l'amour vènal, èvoquè au second plan par une cortisane en costume vènitien, accompagnèe d'un homme plus agèet d'une entremetteuse. Le première plan montre Vènus etendusur un lit matelassè. La reflectographie de l'amour, montre la soliditèdes incarnats, de pentimenti ou doubles contours sur le bras et les flancs et un dessin pictural au pinceau. Les citations vènitiennes sont èvidentes.. Vènue et l'amour se ressent de l'iconographie galante de la serènissime. Si un parallèlisme existe avec vènus et mars de Jacopo Tintoretto...."

LOUIS FINSON | David with the head of Goliath

oil on panel

Attribué à Louis FINSON (entre 1575 et 1580 - 1617) L’Annonciation Toile 93,5 x 124,5 cm Restaurations anciennes

Attribué à Louis FINSON (entre 1575 et 1580 - 1617) L’Annonciation Toile 93,5 x 124,5 cm Restaurations anciennes

Attributed to Louis Finson (Bruges 1570/80-1617 Amsterdam) Judith with the Head of Holofernes oil on canvas 45¼ x 35 3/8 in. (114.8 x 90 cm.)

* Attribué à Louis FINSON, d'après Guido RENI(1580-1617) Saint Sébastien Toile 134 x 93,5 cm (Restaurations) Reprise du tableau de G..

* Attribué à Louis FINSON, d'après Guido RENI(1580-1617) Saint Sébastien Toile 134 x 93,5 cm (Restaurations) Reprise du tableau de Guido Reni (toile, 146 x 113 cm) conservé au Palazzo Rosso à Gênes (voir S. Pepper, Guido Reni, Oxford, 1984, no 48, reproduit fig. 75)

Louis FINSON (Bruges 1585 - Amsterdam 1617)   Vénus et l'Amour.   Toile.   106 x 117 cm.   Signé en bas à gauche AL VISO.FINSON F.   Provenance :   - Collection du Prince de Carolath-Beuthen selon un cachet de 1744 au revers de la

Louis FINSON (Bruges 1585 - Amsterdam 1617) Vénus et l'Amour. Toile. 106 x 117 cm. Signé en bas à gauche AL VISO.FINSON F. Provenance : - Collection du Prince de Carolath-Beuthen selon un cachet de 1744 au revers de la toile. Bibliographie : D. Bodart, « Louis Finson (Bruges, 1585 - Amsterdam, 1617) et Naples », Les Cahiers d'Histoire de l'Art, 5/2007, fig. 9, reproduit en couleur p. 32. Après une formation auprès de son père, décorateur sur étoffes, Louis Finson part travailler en Italie. Ses aeuvres réalisées à Naples entre 1604 et 1612, notamment David et Goliath (Panneau, 113 x 83 cm., conservé à Milan, collection Luigi Koelliker) se rapprochent autant des aeuvres du Caravage qu'il côtoie, que des maniéristes flamands et des artistes vénitiens. Le traitement précieux de notre Venus à la peau lactée, s'exposant dans une pose lascive, rappelle deux autres aeuvres exécutées en 1610 à Naples et de plus grand format, Bethsabée au bain (Toile, 150 x 220 cm., conservé à Milan, collection Giulio Romieri) et Adam et Eve (Toile, 164 x 213,5 cm., conservé au musée de l'université de Marburg) ; tandis que le thème de l'Amour vénal rappelle deux aeuvres du Titien la Venus d'Urbin (Toile, 119 x 165 cm., conservé à la Galerie des Offices de Florence) et Venus avec l'organiste et Cupidon (Toile, 148 x 217 cm., conservé au musée du Prado à Madrid) et nous restitue ainsi une trace du passage de Louis Finson à Venise. A Naples, Louis Finson est proche de Martin Faber. Tous les deux partent en France en 1613. Louis Finson est accueilli à Aix-en-Provence par l'érudit et conseiller au parlement de Provence Nicolas-Claude Fabri de Peiresc qui lui commande l'importante série des portraits des Présidents et Conseillers du Parlement de Provence. Nous remercions le Dr. Moritz Graf Strachwitz de son soutien pour identifier le blason au revers de la toile.

Ludovic FINSON (1580-1617) Attribué à  Saint Sébastien.  Toile.  102,5 x 83,5 cm.

Ludovic FINSON (1580-1617) Attribué à Saint Sébastien. Toile. 102,5 x 83,5 cm.

Louis Finson , Bruges 1580 - 1617 Amsterdam David with the head of Goliath oil on panel

signed on the cartellino lower centre: LVDOWIKVs/ FINSONIVS oil on panel

- Louis Finson , Bruges 1580 - 1617 Amsterdam David and Bathsheba oil on canvas, unframed

signed, inscribed and dated lower centre: LODOVCO FINSONI. F/ INAPOLI/ 1610 oil on canvas, unframed

THE PROPERTY OF A BELGIAN FAMILY LOUIS FINSON BRUGES 1580 - 1617 AMSTERDAM AN ALLEGORY OF THE FOUR

THE PROPERTY OF A BELGIAN FAMILY LOUIS FINSON BRUGES 1580 - 1617 AMSTERDAM AN ALLEGORY OF THE FOUR ELEMENTS signed and dated lower right: Lovs. Finsonsivs Fecit/ APRIL Aº 1611. oil on canvas PROVENANCE Possibly Jehan Letoir, Amsterdam, perhaps by 1618 and in 1621-4, when presumably sold by him to the King of Denmark (see note above); Rombout family, Ghent, from whom bought by the present owner, circa 1993. LITERATURE AND REFERENCES Possibly [P.A. Leupe], 'Schilderijen den Koning van Denemarken to koop angeboden. 1618', in F.D.O. Obreen, Archief voor Nederlandsche kunstgeschiedenis, vol. II, Rotterdam 1879-80, pp. 135-7; Possibly A Bredius, in U. Thieme and F. Becker (ed.), Allgemeines Lexikon der bildender Künstler, vol. XI, Leipzig 1915, p. 589; Possibly D. Bodart, Catalogue de L'oeuvre de Louis Finson, Brussels 1970, pp. 128-29 and 154. CATALOGUE NOTE Louis Finson was born in Bruges before March 1580 into a family of painters. He was first apprenticed to his father, Jacques Finson (1555-before 1608), a painter of decorations in Bruges, until around 1600, when he went Italy, where he lived in Rome. From perhaps1606, and certainly by 1608, until 1612, Finson was in Naples where he deepened his acquaintance with the work of Caravaggio (1571-1610), first encountered in Rome. Finson may possibly have been a pupil of Caravaggio; he certainly made copies after Caravaggios work and is known to have owned at least two of his paintings, one of which was the Madonna of the Rosary, now at Vienna, which he bought with Abraham Vinck, perhaps as early as 1607. The present painting, made in April 1611, dates from Finson's Neapolitan period and clearly shows the dominant influence of Caravaggio, although he has not entirely abandoned the etiolated figural style of Giuseppe Cesari, called Cavaliere D'Arpino (1568-1640), whose work was also to be found in quantity in Naples, and whose influence can be noted in other works from his Neapolitan period, such as the Annunciation at the Museo di Capodimonte, Naples. The present picture is an important landmark in his development, and a key work in our understanding of his artistic personality in this period. Paradoxically, Finson's later works painted in France are yet more ardently Caravaggesque in character, and he played a key rôle in introducing Caravaggism to Southern France. In 1612 he went to Spain and then Provence with Martin Faber (1587-1648) and stayed with him there until circa 1616: in 1613 they were in Marseille, to collaborate on a depiction of the Raising of Lazarus (Parochial Church of Chateau-Gombert, Marseille); and in the following years he went to Aix-en-Provence, Arles and Paris. In 1616 he is recorded back in the Low Countries, and he executed his last will on 19th September 1617 in Amsterdam. Personifications of the Four Elements were conventionally depicted as four females distinguished only by their attributes. Louis Finson, however, used a different type of presentation; the elements as male and female, entangled in a fierce struggle. Fire (upper right) is depicted as a strong, young man surrounded by flames. He is in a firm grip with Water (lower left) and holding Air (upper left) down. Air, an almost floating woman, is literary pushed up in the air by water. She grabs fire by his hair and at the same time holding him back with her right leg. Water, a bearded, older but very strong man is seated with his knees up and surrounded by small waves. He tries to push the element of Earth away with his feet. Earth (lower right) is depicted as an older lady lying on her back and grabbing the chest of water. She is surrounded by brown earth and tries to grip Fire by his left leg, who carefully steps over her. All the elements have a very distinctive facial expression. Fire shows a very determined face and air is depicted actually grasping for air. The element of Water is gazing with a very serious expression, trying to determine how he is going to take a stand against all the other elements. Earth appears very insecure and looks directly at viewer, almost asking for help. As all the expressions resemble the different reactions between the elements, so are the different poses of the bodies. Fire was believed to be the main rival of Water, and could be stopped by Air. Water forms the basis for Air, can not be caught by Fire and manages to slip through Earth. Earth can not burn and Water will always run through it. This may very well be the Finson offered for sale by the Amsterdam dealer Jean Letoir to the King of Denmark through his Court Painter Pieter Isaacsz. (1569-1625) in 1621. Although the purchase seems to have been made, it was tied to the acquisition of a second Finson, a Massacre of the Innocents, and it was not until 1624 that the deal was apparently concluded with Isaacsz., although it is not known if the paintings ever went to Denmark.

Louis Finson (Bruges c. 1580-1617 Amsterdam)

The Triumph of David over Goliath signed 'LVDOWIKV s FINSONIVS' (on the cartellino, lower centre) oil on panel 44 1/2 x 32 1/2 in. (113 x 82.5 cm.)