Daniel Froschl Sold at Auction Prices

b. 1563 - d. 1613

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    • Daniel Froschl (attrib), (2) watercolors on vellum
      Nov. 18, 2022

      Daniel Froschl (attrib), (2) watercolors on vellum

      Est: $800 - $1,200

      Attributed to Daniel Froschl (German, 1563–1613), Adoration of the Magi and The Circumcision, unsigned, auction labels verso, in oval giltwood frames under glass, 6"h x 5"w (sight), 9"h x 7.5"w (frame)

      Millea Bros Ltd
    • Attributed to DANIEL FRÖSCHL
      Mar. 26, 2021

      Attributed to DANIEL FRÖSCHL

      Est: CHF75,000 - CHF100,000

      Attributed to DANIEL FRÖSCHL (Augsburg 1573–1613 Prague) Venus and Adonis. Circa 1600. Oil on copper. 32.3 × 24.3 cm. Provenance: - Dorotheum auction, Vienna, 30.3.2000, Lot 39 (as attributed to Hans Rottenhammer the Elder). - European collection. --------------- DANIEL FRÖSCHL (ZUGESCHRIEBEN) (Augsburg 1573–1613 Prag) Venus und Adonis. Um 1600. Öl auf Kupfer. 32,3 × 24,3 cm. Provenienz: - Auktion Dorotheum, Wien, 30.3.2000, Los 39 (als zugeschrieben an Hans Rottenhammer d. Ä.). - Europäischer Besitz. Das Gemälde zeigt Venus an einem Baum sitzend, den Arm des Adonis umgreifend. Mit ihrer linken Hand versucht sie, sein Jagdhorn vor ihm zu verbergen. Die Szene stammt aus Ovids Metamorphosen: Adonis war ein schöner Jüngling und königlicher Waisenknaben, der seine Zeit mit der Jagd verbrachte. Venus, die Göttin der Liebe, verliebte sich in ihn, nachdem sie versehentlich von einem der Pfeile Amors getroffen wurde. Eines Tages, als Adonis alleine auf die Jagd ging, weckten seine Hunde ein Wildschwein, das ihn angriff, und obwohl Venus ihm zur Hilfe eilte, kam sie zu spät und konnte ihn nicht retten. Das hier angebotene Werk verbindet gekonnt italienische und flämische Einflüsse und muss in einem blühenden künstlerischen Umfeld entstanden sein, in dem internationale Stile zusammentreffen konnten, so wie dies dies um 1600 am Hof Rudolfs II. in Prag der Fall war. Der in Wien geborene Kaiser Rudolf II. war der Sohn von Kaiser Maximilian II. und Maria von Spanien, ein bedeutender Kunstmäzen und Förderer der Wissenschaften. Seine Kunstsammlung war die grösste ihrer Zeit und er berief zahlreiche Künstler verschiedener Fachgebiete an seinen Hof, was zu einer Blüte der spätmanieristischen Kunst in Prag führte, die besonders auf Deutschland und die Niederlande ausstrahlte. Stilistisch erinnert unser Gemälde dabei an den deutschen Maler Daniel Fröschl (1573–1613), der in Florenz unter Jacopo Ligozzi (1547–1627) gelernt hatte und ab 1603 am Hof Rudolfs II. tätig war. Eine Miniatur Daniel Fröschls nach Bartholomäus Spranger (1546–1611) mit dem Sündenfall ist kompositorisch und in der Ausführung nahe an dem hier angebotenen Gemälde (Abb. 1, Albertina Wien, Inv.-Nr. 3352). Eine Zeichnung des gleichen Themas vom Maler Martino Rota (um 1520–1583) zeigt zudem eine verwandte Komposition (Mährische Galerie, Brünn). Rota war ein Kupferstecher und Porträtist, der kurz am Hofe Rudolf II. tätig war.

      Koller Auctions
    • Daniel Fröschl, Saint Jerome in his Study
      Nov. 21, 2020

      Daniel Fröschl, Saint Jerome in his Study

      Est: €4,000 - €5,000

      Daniel Fröschl, Saint Jerome in his Study

      Kunsthaus Lempertz KG
    • Daniel Fröschl (-)
      Jun. 09, 2020

      Daniel Fröschl (-)

      Est: €40,000 - €60,000

      - The lot is subject to full taxation (13%) Please note the exact Buyer’s Premium charges which can be found in the Conditions of Sale in the Terms below. (Augsburg 1573–1613 Prague) The Virgin and Child in a landscape, oil on canvas, 125.5 x 89.5 cm, framed Provenance: Convent of the Colettine Poor Clares, Bruges The attribution to Daniel Fröschl, court painter to Emperor Rudolf II in Prague, has been endorsed by Rainer Stüwe, to whom we are grateful for his help in cataloguing the present lot. Stüwe’s extensive certificate accompanies the work, which he dates to the years around 1610. The motif of the present painting derives from the central motif of Albrecht Dürer’s Madonna of the Animals at the Albertina, Vienna (see fig. 1), executed in 1503 as a watercoloured pen and ink drawing. Due to stylistic evidence this work must be seen in the context of the so-called ‘Dürer Renaissance’, a movement that emerged around 1600. It was the aim of the painter of the present work to reinterpret the figural composition in tune with the taste of the Dürer Renaissance in Prague by softening the expression of the scene. Different from the painted copies by Jan Brueghel the Elder at the Palazzo Doria in Rome and the engraving by Aegidius Sadeler, the comprehensive narrative components of the prototype have been omitted from this modified composition so as to concentrate exclusively on its protagonists. On the other hand, the painter has added elements to the composition that seem unusual for its time, including a golden ferula in the hands of the Christ Child, whereas in the prototype the Infant Jesus is depicted without any attributes, pointing in the direction of a stork approaching the figure of Saint Joseph. The present painting shows numerous stylistic resemblances to works by Daniel Fröschl, who was employed as antiquarian for the imperial art collections in Prague from 1607 onwards. Due to his function, Fröschl had access to Dürer’s prototypes, including the Madonna of the Animals, which had not yet been reproduced in the form of prints or other media. In addition, the artist seems to have had rudimentary knowledge of Far Eastern – probably Japanese – pagoda temples as early as around 1610, probably transmitted to Europe by way of rare written and amateurishly drawn accounts compiled by Jesuit missionaries during the second half of the sixteenth century. Moreover, he has modified Dürer’s model by changing the green parakeet at the lower left into a scarlet macaw, a large South American parrot, which around 1600 was only known to extremely privileged circles. The added motifs of a Japanese pagoda and a South American macaw suggest that the painter had access to specimens contained in a richly furnished chamber of curiosity and library from the period around 1600. According to contemporary sources and existing literature, which is scarce, Fröschl was mainly known for his exquisite miniatures based on sixteenth-century examples, supplied by artists like Dürer, Michelangelo, and Correggio. But both the present Madonna and a proportionally approximately live-sized picture of a Madonna sold at the Dorotheum, Vienna (23 October 2018, lot 6) and at Hejtmanek in Prague (28 May 2015, lot 34) make it clear that Fröschl, besides miniatures, also executed outstanding imitations of Dürer’s prototypes in larger dimensions. Fröschl trained in his native town of Augsburg. He later went to Florence, where he studied under Jacopo Ligozzi. Then he worked for the Medici in Pisa and Florence until he was finally called to the court of Emperor Rudolf II in Prague.

      Dorotheum
    • DANIEL FRÖSCHL (C.1572-1613) follower
      Dec. 07, 2015

      DANIEL FRÖSCHL (C.1572-1613) follower

      Est: €5,000 - €6,000

      English DANIEL FRÖSCHL (C.1572-1613) follower Madonna in a mountainous landscape surrounded by numerous animals. Copper. Set in a 19th century shrine. The composition is based on a drawing by Dürer (1471-1528) (Albrecht Dürer, Virgin and Child surrounded by numerous animals, ink and watercolour on paper, 1503, 321 x 243 mm, Graphische Sammlung Albertina, Vienna). A very similar version, attributed to Fröschl, was offered for sale (copper, 34 x 24.5, Dorotheum Vienna, 21.04.2010, lot 101). 35.5 x 25.5 (dagkanten) Dutch DANIEL FRÖSCHL (C.1572-1613) navolger van Madonna in bergachtig landschap omringd door vele dieren. Koper. In 19de eeuws schrijn gevat. De compositie gaat terug op een tekening van Dürer (1471-1528) (Albrecht Dürer, Madonna omringd door vele dieren, pentekening en aquarel op papier, 1503, 321 x 243 mm, Graphische Sammlung Albertina, Wenen). In het verleden werd een zeer gelijkaardige versie, toegeschreven aan Fröschl, aangeboden bij andere veilinghuizen (Madonna met Jezuskind en vele dieren, koper, 34 x 24.5, Dorotheum Wenen, 21.04.2010, lot 101). 35.5 x 25.5 (dagkanten) French DANIEL FRÖSCHL (C.1572-1613) suiveur La Vierge à l'Enfant Jésus entouré d'animaux nombreux dans un paysage montagneux. Cuivre. Dans un écrin du 19ème siècle. La composition remonte à un dessin de Dürer (1471-1528) (Albrecht Dürer, La Vierge à l'Enfant entourée d'animaux nombreux, dessin à la plume et aquarelle sur papier, 1503, 321 x 243 mm, Graphische Sammlung Albertine, Vienne). Un tableau quasiment identique, attribué à Fröschl, a été offert à Vienne (La Vierge à l'Enfant Jésus et animaux nombreux, cuivre, 34 x 24.5, Dorotheum, 21.04.2010, lot 101). 35.5 x 25.5 (dagkanten)

      Bernaerts Auctioneers
    • DANIEL FRÖSCHL (1572 - 1613) MADONNA WITH CHILD AND GRAPES
      May. 28, 2015

      DANIEL FRÖSCHL (1572 - 1613) MADONNA WITH CHILD AND GRAPES

      Est: -

      DANIEL FRÖSCHL (1572 - 1613) MADONNA WITH CHILD AND GRAPES First decade 17th century, Bohemia Eliška Fučíková, an art historian and an expert on Rudolfian paintings, identified the artist as Daniel Fröschl. The artist was initially employed by the Medici family and then, from 1607 and on at the court of Rudolf II as an administrator of the Kunstkammer, where he had the opportunity to study works of German early 16th century painters. The work belongs to the "Dürer Renaissance." Besides the influence of Dürer himself, we may observe that the artist was inspired by the Madonnas of Lucas Cranach. Oil on canvas, rentoiled. Assessment by PhDr. Eliška Fučíková CSc.; Colour analysis by Dorothea Pechová; Report of restoration by Martin Martan.

      Arthouse Hejtmánek
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