Adriaen Thomasz. Key Paintings & Artwork for Sale | Adriaen Thomasz. Key Art Value Price Guide

Nov. 28, 2024
KEY, ADRIAEN THOMASZ (IN DER ART DES). Bildnis eines Herren. Öl auf Holz.
Est: €800 - €1,200
KEY, ADRIAEN THOMASZ (IN DER ART DES) Ca. 1544 Antwerpen - nach 1589 ebd. Bildnis eines Herren Öl auf Holz. Restauriert, beschädigt. 44 x 32 cm. Rahmen.
Scheublein Art & Auktionen
Sep. 14, 2024
ADRIAEN THOMASZ. KEY (ATTR.) BILDNIS EINES JUNGEN ADLIGEN H
Est: €900 - €1,800
ATTRIBUTED TO ADRIAEN THOMASZ. KEY C. 1544 Antwerp - After 1589 ibid PORTRAIT OF A YOUNG NOBLEMAN WITH RUFF AND BEARD Oil on canvas. 49 x 36 cm (F. 57 x 44 cm). Part. old rest:, old retouching, slight loss of colour. Frame. Provenance: Southwest German private collection. ADRIAEN THOMASZ. KEY (ATTR.) C. 1544 Antwerpen - Nach 1589 ebenda BILDNIS EINES JUNGEN ADLIGEN HERRN MIT HALSKRAUSE UND BART Öl auf Leinwand. 49 x 36 cm (R. 57 x 44 cm). Part. altrest., Altretuschen, leichte Farbverluste. Rahmen. Provenienz: Südwestdeutsche Privatsammlung.
Hargesheimer Kunstauktionen Düsseldorf
Jul. 03, 2024
ADRIAEN THOMASZ. KEY (ANTWERP C. 1545-C. 1589). Portrait of a young lady, b
Est: £40,000 - £60,000
ADRIAEN THOMASZ. KEY (ANTWERP C. 1545-C. 1589). Portrait of a young lady, bust-length, in a white ruff and cap. oil on panel 19 3⁄8 x 15 ½ in. (49.2 x 39.3 cm.), with unpainted additions of 0.8 cm. to each edge.
Christie's
Nov. 30, 2023
Adriaen Thomas Key (Antwerp, c. 1544 - c. 1599), A portrait of a bearded man in black with a beret
Est: £5,000 - £8,000
Adriaen Thomas Key (Antwerp, c. 1544 - c. 1599) A portrait of a bearded man in black with a beret Oil on panel Dimensions: (Panel) 20 in. (H) x 14.5 in. (W) (Frame) 25 in. (H) x 20 in. (W)
Sloane Street Auctions
Jun. 29, 2023
Adriaen Thomasz Key d. J., um 1544 Antwerpen – um 1590, zugeschrieben
Est: €2,500 - €3,500
PORTRAIT EINES BÄRTIGEN MANNES Öl auf zwei miteinander verbundenen Holzplatten. Verso teils gefestigt. 51 x 37 cm. Gerahmt. Vor dunklem Hintergrund das Brustbildnis nach rechts eines eleganten Herren, mit schwarzem Gewand und weißer Halskrause, dazu auf dem Kopf ein schwarzes Barett tragend. Er hat ein feines leicht gebräuntes Inkarnat, dunkelbrauen Augen, mit denen er aufmerksam aus dem Bild herausschaut. Feine realitätsnahe charakterisierende Darstellung. Rest., vereinzelt Farbabsplitterungen. (13621249) (18)
Hampel Fine Art Auctions
May. 03, 2023
Adriaen Thomasz. Key
Est: €50,000 - €70,000
(Antwerp circa 1544 – after 1589) Portrait of a bearded man, oil on panel, 78 x 58 cm, framed Provenance: Private collection, Belgium, until 2022 We are grateful to Koenraad Jonckheere for confirming the attribution after inspection of the original. He dates the work to circa 1570. The present portrait of a bearded man, arresting in its intimacy, capturing the contemplative gaze of the sitter, along with the intense naturalism with which his face is rendered, is an outstanding example of the oeuvre of the Antwerp master Adriaen Thomasz. Key. Attired in an expensive and modish ‘Burgundian black’ doublet, with his hands unsheathed from fine kidskin gloves to show fingers adorned with no less than three rings, it is likely our sitter is an as yet unidentified nobleman. Antwerp was the major economic hub of Northern Europe at this time and the Key workshop, founded by Adriaen Thomasz.’s master Willem Key (1516–1578), portrayed a very international and moneyed clientele, from Margaret of Parma, to William the Silent Prince of Orange. Thus, even the nationality of the sitter remains an open art historical question. Long thought to be the son of Willem Key, archival research has revealed that Thomas Adriensz was only related to Willem only by marriage, Adriean Thomasz. likely added Key suffix to his name as a guarantor of quality when he took over his late master’s workshop. Following the Beeldenstorm, or iconoclasm of 1566, Antwerp was at the centre of intense religious and political turbulence, but where certainty could at least be sought in the consistently superb qualities of the output of the Key atelier. Arguably even more refined than his master, Jonckheere has spoken of the how: ‘Adriaen succeeded much more than his master to transform his observations of nature into a detailed image.’ Technical analysis by Gianluca Poldi: The underdrawing of the head is almost completely invisible in the IR images, while some signs of a free, rather large black underdrawing is visible in the hands, particularly near the wrists: the painter probably used another type of drawing technique and material to define and detail the sitter’s face, a material largely transparent to IR radiation like iron-gall ink. Pigments include ochres and a Kassel-type brown earth, lead white, black pigment and vermillion, quite finely grinded, added to black and brown hues. A red lake is also present, in the flesh tones, mixed with vermillion and lead white.
Dorotheum
Mar. 31, 2023
ADRIAEN THOMASZ. KEY
Est: CHF10,000 - CHF15,000
ADRIAEN THOMASZ. KEY (circa 1544 Antwerp after 1589) Portrait of Philippe de Montmorency, Count of Hoorn (circa 1518–1568). Oil on panel. 46.5 × 35.7 cm. Provenance: - Collection of Baron Hans von Schoen (1876–1969). - By descent to his Sohn Leonardo von Schoen (1929–2022). Our thanks to Prof. Dr Koenraad Jonckheere who has confirmed the authenticity of this work having examined it in the original. For a detailed provenance of this work from the collection of the German diplomat Baron von Schoen (1876–1969) see the note to Lot 3003. --------------- ADRIAEN THOMASZ. KEY (um 1544 Antwerpen nach 1589) Bildnis von Philippe de Montmorency, Graf von Hoorn (um 1518–1568). Öl auf Holz. 46,5 × 35,7 cm. Provenienz: - Sammlung Baron Hans von Schoen (1876–1969). - Durch Erbschaft an seinen Sohn Leonardo von Schoen (1929–2022). Prof. Dr. Koenraad Jonckheere bestätigt die Eigenhändigkeit nach Prüfung des Originals, wofür wir ihm danken. Eine vergleichbare Komposition von Adriaen Thomasz. Key befindet sich in der Hamburger Kunsthalle (Inv.-Nr. 135). Besonders bemerkenswert ist die malerische Qualität der Physiognomie des Dargestellten. Die Feinheit des Inkarnats ist charakteristisch für Key. Zur beachtlichen Provenienz dieses Werkes aus der Sammlung des deutschen Diplomaten Baron von Schoen (1876–1969) siehe die Katalognotiz zu Los 3003. ---------------
Koller Auctions
Mar. 30, 2023
Adriaen Thomasz Key d. J., um 1544 Antwerpen – um 1590, zugeschrieben
Est: €18,000 - €25,000
PORTRAIT EINES VORNEHMEN HERRN MIT HALSKRAUSE Öl auf Holz. 46,5 x 34 cm. Rechts oben beschriftet „Aetatis LVI.“ und datiert „1588 STERF.XX3.SEPTEE.“. In breitem ebonisiertem Rahmen mit Goldornamenten. Brustbildnis des Mannes nach rechts, in schwarzer Kleidung und großer weißer Halskrause. Er hat dunkles, leicht grau meliertes Haar und einen Vollbart, eine große Nase und mit seinen leuchtenden braunen Augen schaut er direkt aus dem Bild hinaus. Oben links ein gemaltes Familienwappen mit bekrönendem Rüstungshelm. Typisches Gemälde des für seine Portraits bekannten Malers, der durch den dunkelbraunen Hintergrund und den weißen Kragen besonders das prägnante Gesicht des Gezeigten in den Vordergrund stellt. (1350373) (13) Adriaen Thomasz Key the Younger, ca. 1544 Antwerp – ca. 1590, attributed PORTRAIT OF AN ELEGANT GENTLEMAN WITH RUFF COLLAR Oil on panel. 46.5 x 34 cm. Inscribed “Aetatis LVI.” top right and dated “1588 STERF.XX3.SEPTEE.”
Hampel Fine Art Auctions
Sep. 22, 2022
Adriaen Thomasz Key d. J., um 1544 Antwerpen – um 1590, zugeschrieben
Est: €5,000 - €7,000
Portrait eines Mannes mit weisser Halskrause Öl auf Holz. Ca. 37 x 35,5 cm. Links oben bezeichnet „[…] sua 49“. In dekorativem Rahmen. Vor grünlichem Hintergrund das Brustbildnis des eleganten Herren nach rechts mit schwarzem Gewand und darüberliegender schmaler Halskrause. Er hat kurze Haare, einen Kinnbart und mit seinen hellbraunen Augen schaut er ernsthaft und voller Würde aus dem Bild heraus. Die Inschrift soll wohl auf das Alter des Dargestellten mit 49 Jahren hinweisen. Anmerkung: Unterhalb der Darstellung auf Rahmen alte Plakette, die auf Pieter Jansz. Pourbus (1524-1584) hinweist. (13216113) (18)
Hampel Fine Art Auctions
Jun. 30, 2022
Adriaen Thomasz Key d. J., um 1544 Antwerpen – um 1590, zugeschrieben
Est: €7,000 - €9,000
PORTRAIT EINES MANNES MIT WEISSER HALSKRAUSE Öl auf Holz. Ca. 37 x 35,5 cm. Oben links bezeichnet „[...] sua 49“. In dekorativem Rahmen. Vor grünlichem Hintergrund das Brustbildnis des eleganten Herren nach rechts mit schwarzem Gewand und darüberliegender schmaler Halskrause. Er hat kurze Haare, einen Kinnbart und mit seinen hellbraunen Augen schaut er ernsthaft und voller Würde aus dem Bild heraus. Die Innschrift soll wohl auf das Alter des Dargestellten mit 49 Jahren hinweisen. Rest., kleine Retuschen. Anmerkung: Unterhalb der Darstellung auf Rahmen alte Plakette, die auf Pieter Jansz. Pourbus (1524-1584) hinweist. (13216113) (18)
Hampel Fine Art Auctions
Feb. 12, 2022
circle of ADRIAEN THOMASZ KEY (Flemish 1544-1590) A LOW COUNTRY RENAISSANCE PAINTING, "Portrait of a Gentleman in a Ruff Collar and Gorget," 16TH/17TH CENTURY,
Est: $2,500 - $4,500
circle of ADRIAEN THOMASZ KEY (Flemish 1544-1590) A LOW COUNTRY RENAISSANCE PAINTING, "Portrait of a Gentleman in a Ruff Collar and Gorget," 16TH/17TH CENTURY, oil on canvas, inscribed U/L, "Johan. Upchierts.," 22 1/4" x 17", framed, 32" x 26". Note: The painting demonstrates both Flemish and Spanish styles demonstrated in 16th/17th-century portraiture. The clear light and rosy cheeks above a delicate ruff collar belie the influence of Flemish portrait style. The gorget with gilt rivets was typically made of metal and/or leather. The gorget was worn by men of military rank, ambassadors, and diplomats to protect from lance and sword strikes, falling out of fashion as firearms technology advanced. The sitter effects a watchful and attentive expression; his eyes dart to his proper right over a sloping nose with a straight and narrow bridge. He has distinctively shaped ears, which are only outweighed by a pale forehead. A trimmed mustache reveals his closed lips over a long goatee; the sitter evokes the noble countenance of the Spanish Kings Philip II and Philip III. Provenance: Roy Precious Antiques and Fine Art, Wilshire, United Kingdom; Norris Castle, Isle of Wight, England
Simpson Galleries, LLC
Nov. 20, 2021
Thomasz. Key, Adriaen follower
Est: -
Circa 1544 Antwerp - after 1589 ibid. Portrait of a bearded gentleman with millstone collar. Oil on canvas. Unsigned. H 39,5, W 29,5 cm (support). Framed. We would like to thank Dr. Fred G. Meijer, expert on Dutch and Flemish painting of the 17th century, Amsterdam, for the scientific consultation via E-Mail, based on photos, 09.06.2021. Provenance: private collection Frankfurt a.M. and Baden-Baden. Beschreibung Um 1544 Antwerpen - nach 1589 ebd. Porträt eines bärtigen Herrn mit Mühlsteinkragen. Öl auf Leinwand. Unsign. H. 39,5, B. 29,5 cm (Bildträger). Gerahmt. Wir danken Herrn Dr. Fred G. Meijer, Experte für niederländische und flämische Malerei des 17. Jahrhunderts, Amsterdam, für die wissenschaftliche Beratung via E-Mail, anhand von Photos, 09.06.2021. Provenienz: Privatsammlung Frankfurt a.M. und Baden-Baden.
Auktionshaus Kaupp GmbH
Nov. 07, 2021
ADRIAEN THOMASZ KEY (ATTR.)
Est: $4,000 - $6,000
Oil on panel. Portrait of a Lady. Labels verso. From a New Rochelle, NY collection.
Clarke Auction Gallery
Jun. 16, 2021
ADRIAN THOMASZ. KEY (ANVERS VERS 1544-APRÈS 1589) - Portrait de femme à la coiffe blanche ; Portrait d'homme barbu
Est: €50,000 - €70,000
ADRIAN THOMASZ. KEY (ANVERS VERS 1544-APRÈS 1589) Portrait de femme à la coiffe blanche ; Portrait d'homme barbu huile sur panneau, une paire, sans cadre 47,5 x 33,7 cm. (18 11/16 x 13 ¼ in.) ; 47 x 34,8 cm. (18 ½ x 13 11/16 in.)
Christie's
Mar. 31, 2021
Adriaen Thomasz. Key (1544-1589)-attributed
Est: €700 - €1,400
Adriaen Thomasz Key (1544-1589)-attributed, Portrait of an elegant court lady, sitting on a chair in front of a dark background; oil on panel, framed. 76X57cm
Deutsch Auktionen
Dec. 15, 2020
Attributed to Thomas Adrian KEY (ca
Est: €3,000 - €5,000
Attribué à Thomas Adrian KEY (vers 1544-après 1589) Portrait de femme au bonnet de dentelle Panneau de chêne agrandi sur les quatre côtés (Restaurations anciennes) Dimensions du panneau original 41 x 32 cm Dimensions agrandies 71,5 x 55 cm Attributed to Thomas Adrian KEY (ca. 1544-after 1589) Portrait of a woman with a lace cap Oak panel enlarged on all four sides (Old Restorations) Original panel dimensions 41 x 32 cm Enlarged dimensions 71.5 x 55 cm
Marie-Saint Germain
Apr. 02, 2020
Adriaen Thomasz Key d.J., um 1544 Antwerpen – um 1590, zug.
Est: €8,000 - €10,000
PORTRAIT EINES VORNEHMEN HERREN Öl auf Holz. 47 x 34 cm. Rechts oben beschriftet „Aetatis LVI.“ und datiert „1588 STERF.XX3.SEPTEE.“ Brustbildnis des Mannes nach rechts, in schwarzer Kleidung und großer weißer Halskrause. Er hat dunkles, leicht grau meliertes Haar und einen Vollbart, eine große Nase und mit seinen leuchtenden braunen Augen schaut er direkt aus dem Bild hinaus. Oben links ein gemaltes Familienwappen mit bekrönendem Rüstungshelm. Typisches Gemälde des für seine Portraits bekannten Malers, der durch den dunkelbraunen Hintergrund und den weißen Kragen besonders das prägnante Gesicht des Gezeigten in den Vordergrund stellt. Retuschen. Leichter Farbabrieb. (1221582) (18)
Hampel Fine Art Auctions
Nov. 28, 2018
Adriaen Thomasz. Key (Dutch, c. 1544- after 1589) Portrait of a bearded gentleman in a white ruff
Est: £5,000 - £7,000
Adriaen Thomasz. Key (Dutch, c. 1544- after 1589) Portrait of a bearded gentleman in a white ruff oil on panel, in a Dutch frame h:35 w:29 cm Provenance: Private collection, Germany
Cheffins
Sep. 28, 2018
KEY, ADRIAEN THOMAS
Est: CHF15,000 - CHF20,000
KEY, ADRIAEN THOMAS (c. 1544 Antwerp after 1589) Portrait of a nobleman in black dress.1568. Oil on panel. Dated top left: 1568. 46 x 33.5 cm. Provenance: - Collection of the Duke of Cumberland, Hanover (inventory of the Fideikommiss-Galerie, 1905, no. 450). - Auction, Fideikommiss-Galerie für das Haus Braunschweig-Lüneburg, at Cassirer und Helbing Berlin, 27.4.1926, Lot 91. - Swiss private collection. - Koller auction, Zurich, 26.3.2004, Lot 3015. - European private collection. Exhibited: Hannover, Provinzialmuseum (work on loan), 1891, no. 7 (as Amsterdam School, 16th century). Literature: Friedländer, Max Jakob: Amtl. Berater an der königlichen Kunstsammlung [Berlin], XXXV, 1913/14, p. 365-368 (with ill.). --------------- KEY, ADRIAEN THOMAS (um 1544 Antwerpen nach 1589) Bildnis eines Edelmannes in schwarzem Gewand. 1568. Öl auf Holz. Oben links datiert: 1568. 46 x 33,5 cm. Provenienz: - Sammlung Herzog von Cumberland, Hannover (Inventar Fideikommiss-Galerie, 1905, Nr. 450). - Auktion Fideikommiss-Galerie für das Haus Braunschweig-Lüneburg, bei Cassirer und Helbing Berlin, 27.4.1926, Los 91. - Schweizer Privatbesitz. - Auktion Koller, Zürich, 26.3.2004, Los 3015. - Europäische Privatsammlung. Ausstellung: Hannover, Provinzialmuseum (Leihgabe), 1891, Nr. 7 (als Amsterdamer Schule, 16. Jahrhundert). Literatur: Friedländer, Max Jakob: Amtl. Berater an der königlichen Kunstsammlung [Berlin], XXXV, 1913/14, S. 365-368 (mit Abb.).
Koller Auctions
Jul. 05, 2017
ATTRIBUTED TO ADRIAEN THOMASZ. KEY (ANTWERP CIRCA 1544-CIRCA 1589) Portrait of a gent
Est: £4,000 - £6,000
ATTRIBUTED TO ADRIAEN THOMASZ. KEY (ANTWERP CIRCA 1544-CIRCA 1589) Portrait of a gentleman, half-length, in black and holding a pair of gloves inscribed and dated ‘AETA. 57/.1577.’ (upper left) oil on panel 96.2 x 73.2cm (37 7/8 x 28 13/16in).
Bonhams
Jan. 25, 2017
ATTRIBUTED TO ADRIAEN THOMASZ. KEY | The Virgin and Child
Est: $40,000 - $60,000
Black, red and white chalk with touches of blue-gray bodycolor, within partial black chalk and brown ink framing lines; bears numberings and inscriptions, verso: Nυo6 (red chalk, top left), Nυo 31 (black chalk, centre), Permens (brown ink, centre), Permitiano (black chalk, centre) and N229 (black chalk, lower left)
Sotheby's
Nov. 14, 2016
Attribué à Adriaen Thomasz. Key Anvers, vers 1545 - vers 1600 Portrait d'un artiste tenant ses pinceaux et une coquille Huile sur pa..
Est: €12,000 - €15,000
Attribué à Adriaen Thomasz. Key Anvers, vers 1545 - vers 1600 Portrait d'un artiste tenant ses pinceaux et une coquille Huile sur panneau, parqueté Daté 'AETATIS SVA 33 / . 1593 .' en haut à droite h: 49 w: 29 cm Provenance : Chez Emmanuel Moatti, Paris, en 2002 Commentaire : Ce lot est mis en vente dans le cadre d'une vente judiciaire, sous le marteau de Maître Francis Briest, commissaire-priseur judiciaire. Les frais légaux en sus des enchères, pour le lot 57, sont de 14,352 % T.T.C.
Artcurial
May. 16, 2015
Willem Key, Adriaen Thomasz Key, The Holy Family with Saint Elisabeth and Saint John the Baptist
Est: €40,000 - €45,000
The painting is an addition to Willem Key's œuvre. Best known for his portraits, the master made some religious compositions as well. Son of a goldsmith he grew up in Breda before moving in the twenties to Antwerp where he was trained in 1529 by Pieter Coecke van Aelst, one of the leading painters of the city. Carel van Mander reveals in his Schilderboeck that he studied further with Lambert Lombard in Liège. In 1542 he is established in Antwerp and received as free master in the painter's guild of which he became dean in 1552. Only few of his works are signed and dated hence his devotional paintings can only be identified by their style and the typology of the figures. According to Dr K. Jonckheere, specialist of the artist who has inspected the panel first hand, the Virgin and Child are from the master's hand while the three other figures have been executed by an assistant, probably Adriaen Thomasz. Key, his closest known collaborator. The facial types of the Christ Child and His mother are comparable to those of the Holy Family in Pommersfelden (Schloss Weissenstein) one of Willem Key's late work. The infant blond curly hair and His chubby body are quite similar. The light brown contour line of His body is typical of the painter's technique. Also the rendering of the Virgin's right hand knuckles is characteristic of his manner. As for saint Joseph and saint Elisabeth their strongly marked faces remind greatly those of Adriaen Thomasz. Dr Jonckheere dates the painting in the sixties, last decade of Willem's life, a period of intense collaboration between the two artists. Willem Key, Adriaen Thomasz Key
Kunsthaus Lempertz KG
Apr. 18, 2015
Portrait of Abraham Ortelius
Est: $250,000 - $350,000
Adrien Thomaszoon Key (ca. 1544 - After 1589). A Superb Sixteenth-Century Portrait of Famed Geographer Abraham Ortelius: The Only Portrait Painted During His Lifetime. Oil on Panel, 17 1/8 x 18 3/4 inches framed. Inscribed Center Right ?Contemno/ Et/ Orno? Provenance: I. Riesner Collection, Brussels; His sale, Brussels, Galerie Fievez, November 19, 1927, lot 65 (as Antonio Moro, Portrait d’un géographe); Anton W.M. Mensing Collection, Amsterdam, died 1936 and then held in trust by the estate until sold, Amsterdam, Frederick Muller & Cie., November 15, 1938, lot 68 (as Antonio Moro, Portrait of Abraham Ortelius), where acquired by J. Paul Getty; J. Paul Getty Collection, California, until 1954 when donated to the J. Paul Getty Museum, Malibu, California; deaccessioned 2007. This superb portrait by the Flemish painter Adriaen Thomaszoon Key represents Abraham Ortelius (1527-1598), a luminary figure in the intellectual history of the Renaissance. Born Abraham Ortels in the Flemish capital of Antwerp in present-day Belgium, Ortelius (who Latinized his name in his 20s, as was then fashionable among the educated elite) eventually became one of the most celebrated geographers of all time -- equal parts innovator, entrepreneur, cartographer, and classical scholar. His foremost accomplishment was the production of the first world atlas in the modern sense of the word, the Theatrum Orbis Terrarum, which was first published in Antwerp in 1570. Although he created some maps personally, Ortelius was known more as a publisher than a cartographer. For the Theatrum he compiled the best existing maps, had them re-engraved by talented printmakers in his employ such that all conformed to a standard format and style, appended scholarly text to their versos, and then published them as a uniform edition. The result was an atlas that was truly without precedent. This portrait of Ortelius by Adriaen Thomaszoon Key is the only known representation of the famous geographer done during his lifetime. Previously attributed to the painter Anthonis Mor (also known as Antonio Moro), the painting was first recognized as Key’s work by Burton B. Fredericksen in his 1965 catalogue of the J. Paul Getty Collection (see references, above). Ortelius almost certainly sat for the artist so Key could make first-hand studies “from life” that he could then work up into this final composition. Key shows Ortelius in the flawless naturalistic style for which Northern European artists were celebrated. Every hair in the geographer’s beard and rich fur cape emerges with distinct clarity. Ortelius is depicted in bust-length, his face -- in near-profile -- emerging brightly above a neat white ruff from the dark, simple background. He stares intently to the right, resting his hand gently on a terrestrial globe, where the Mediterranean can just be made out. Ortelius’s intense gaze, his prominent, furrowed brow, his sober expression and dignified bearing all contribute to an impression of surpassing intelligence. The illumination of his face against the relative obscurity of the background was probably a calculated allusion to the geographer’s learning (literal enlightenment) and to his greatest accomplishment, that of having spread knowledge of geography to a broader European public. The inscription at center right, “contemno et orno,” which in full would read “contemno et orno mente manu,” almost certainly alludes to Ortelius’s triumph in having produced the first atlas. Although its meaning is debated, the inscription was probably meant to translate as “I divide and order with mind and hand,” which is precisely the task of the geographer -- to divide and order the world and its parts through the intellect, and then transcribe that knowledge onto paper. The placement of Ortelius’s hand above the globe is likewise highly symbolic, in this case alluding to his firm grasp on (and power over) geography.
Arader Galleries
Oct. 07, 2014
Circle of Adriaen Thomaz Key (circa 1544 - circa
Est: £1,500 - £2,500
Circle of Adriaen Thomaz Key (circa 1544 - circa 1590) - Oil painting - Shoulder length portrait of a bearded gentleman wearing a ruff and fur trimmed robe, with armorial and bearing date 1583 to top right hand corner, oak panel 18ins x 14.25ins, in deep ebonised and moulded frame
Canterbury Auction Galleries
Jul. 05, 2013
Circle of Adriaen Thomasz. Key (?Antwerp c. 1544-after 1589 ?Antwerp)
Est: -
Circle of Adriaen Thomasz. Key (?Antwerp c. 1544-after 1589 ?Antwerp) A male saint praying in a landscape oil on panel 30¾ x 24 1/8 in. (78.1 x 61.3 cm.)
Christie's
Jun. 06, 2013
ADRIAEN THOMASZ. KEY
Est: $25,000 - $35,000
PROPERTY FROM A PRIVATE COLLECTION ANTWERP (?) CIRCA 1544 - AFTER 1589 PORTRAIT OF A BEARDED MAN, BUST LENGTH, WEARING A CHAIN OF GUILD BUCKLES oil on panel 20 by 15 5/8 in.; 50.8 by 39.7 cm.
Sotheby's
May. 11, 2013
ADRIAEN THOMASZ KEY, ADORATION OF THE MAGI
Est: €40,000 - €60,000
The painting is a rediscovery since it's sale in Berlin in 1929. It was then known as a replica of Willem Key's Adoration of the Magi (panel, 72 x 108 cm, present whereabouts unknown) and published as such in 1936 by M.J. Friedländer (Die altniederländische Malerei, vol. 13, no. 271). Today it is recognized as a masterly reinterpretation of the subject by Adriaen Thomasz Key, pupil and collaborator of Willem. The composition strikes the viewer by its close-up rendering. The Virgin and Child slightly off centre are surrounded by five powerfully modeled figures, the oldest magus wearing a rich gold dress kneeling in the foreground. Surprisingly the black magus present in the upper right corner of Willem Key's model has been replaced by a far landscape. Adriaen Thomasz has indeed introduced in his version some remarkable compositional changes. The exclusion of the black king is based rigorously on the text of the Gospels which do not mention him. Doing this the painter follows the recommendations of the theologian Johannes Molanus from 1570. Furthermore he introduces in the upper left corner the head of a young man with individualised facial features allowing Dr. Jonckheere to recognize in it a possible self-portrait, portraiture being the most talented genre of the painter. The emphazis placed on the treatment of the physiognomies is consistent with the usual style and technique of Adriaen Key as revealed by comparaison with e.g. his signed Holy Family in Philadelphia (inv. 430). As a result this Adoration of the Magi appears to be a fine example of religious art made in Antwerp after the Iconoclasm. We thank Hélène Mund for this catalogue entry.
Kunsthaus Lempertz KG
Feb. 26, 2013
Circle of Adriaen Thomas Key (Antwerp c. 1544-after 1589)
Est: £1,000 - £1,500
Circle of Adriaen Thomas Key (Antwerp c. 1544-after 1589) Portrait of a woman, bust-length, in a lace ruff oil on panel 16 x 12 in. (40.5 x 30.4 cm.)
Christie's
Feb. 09, 2013
Attribué à ADRIAEN THOMASZ II KEY (c.1544-c.1590) Portrait d'Homme à la fraise Huile sur panneau Dimensions : 44 x 33 cm ATTRIBUTED TO ADRIAEN THOMASZ II KEY (c.1544-c.1590) PORTRAIT OF A MAN OIL ON PANEL
Est: €800 - €1,000
Attribué à ADRIAEN THOMASZ II KEY (c.1544-c.1590) Portrait d'Homme à la fraise Huile sur panneau Dimensions : 44 x 33 cm ATTRIBUTED TO ADRIAEN THOMASZ II KEY (c.1544-c.1590) PORTRAIT OF A MAN OIL ON PANEL
Accademia Fine Art
Dec. 12, 2012
Adriaen Thomas KEY Le Jeune (Anvers vers 1544 - ? vers 1590) Portrait de jeune femme Panneau de chêne, parqueté 44,5 x 59 cm Restaur...
Est: €5,000 - €7,000
Adriaen Thomas KEY Le Jeune (Anvers vers 1544 - ? vers 1590) Portrait de jeune femme Panneau de chêne, parqueté 44,5 x 59 cm Restaurations et fentes
Tajan
May. 02, 2012
*Manner of Adriaen Thomasz Key, (Flemish, ca. 1544-1589), Portrait of a Man
Est: $6,000 - $8,000
Manner of Adriaen Thomasz Key (Flemish, ca. 1544-1589) Portrait of a Man oil on oak panel 34 x 29 inches.
Hindman
May. 02, 2012
Follower of Adriaen Thomasz Key (Antwerp circa 1544-circa 1589)
Est: £1,500 - £2,000
Portrait of a nobleman, bust-length, in armour inscribed '1615' (upper left) and 'A 62' (upper right) oil on panel 31.8 x 24.5cm (12 1/2 x 9 5/8in).
Bonhams
Dec. 07, 2011
Attributed to Adriaen Thomasz. Key (?Antwerp c. 1544-after 1589 ?Antwerp)
Est: £12,000 - £15,000
Attributed to Adriaen Thomasz. Key (?Antwerp c. 1544-after 1589 ?Antwerp) Saint Peter Penitent, with Christ before Pilate and the Denial of Saint Peter beyond oil on panel 42¾ x 29¾ in. (108.5 x 75.5 cm.)
Christie's
Nov. 06, 2011
*Adriaen Thomasz Key, (Flemish, ca. 1544-1589), Portrait of a Man
Est: $40,000 - $60,000
Adriaen Thomasz Key (Flemish, ca. 1544-1589) Portrait of a Man oil on oak panel 34 x 29 inches.
Hindman
Mar. 24, 2009
Follower of Adriaen Thomas Key (Antwerp c.1544-after 1589)
Est: £600 - £800
Follower of Adriaen Thomas Key (Antwerp c.1544-after 1589) Portrait of a gentleman, bust-length, in a white ruff and fur coat inscribed and dated 'An.o Dñi. 1617./Alta.tis suae 44' (upper right) and with a coat-of-arms (upper left) oil on panel 17¼ x 11½ in. (43.8 x 29.3 cm.)
Christie's
Oct. 29, 2008
Circle of Adriaen Thomas Key (Antwerp c.1544-after 1589)
Est: £4,000 - £6,000
Circle of Adriaen Thomas Key (Antwerp c.1544-after 1589) Portrait of Prince William of Orange (1533-1584), half-length, in a black coat with silver embroidery and a ruff oil on panel 17 x 14¼ in. (43.2 x 36.2 cm.)
Christie's
May. 29, 2008
ADRIAEN THOMASZ KEY hans krets, flamländsk skola,
Est: kr40,000 - kr50,000
ADRIAEN THOMASZ KEY hans krets, flamländsk skola, omkring 1550 Mansporträtt Olja på pannå, 45 x 33,5 cm. Circle of. Oil on panel. EXPERTIS: Cabinet Turquin, Stéphane Pinta, Paris
Stockholms Auktionsverket
Jan. 26, 2007
ATTRIBUTED TO ADRIAEN THOMASZ. KEY ANTWERP (?) CIRCA 1544 - AFTER 1589 PORTRAIT OF ABRAHAM ORTELIUS, IN NEAR PROFILE, BUST-LENGTH, FACING TO THE RIGHT, RESTING HIS LEFT HAND ON A GLOBE 17 1/8 by 14 in ; 43.5 by 35.4 cm. inscribed center right:
Est: $20,000 - $30,000
ATTRIBUTED TO ADRIAEN THOMASZ. KEY ANTWERP (?) CIRCA 1544 - AFTER 1589 PORTRAIT OF ABRAHAM ORTELIUS, IN NEAR PROFILE, BUST-LENGTH, FACING TO THE RIGHT, RESTING HIS LEFT HAND ON A GLOBE 17 1/8 by 14 in ; 43.5 by 35.4 cm. inscribed center right: CONTEMNO/ ET/ ORNO oil on panel Provenance: I. Riesner Collection, Brussels; His sale, Brussels Galerie Fievez, November 19, 1927, lot 65 (as Antonio Moro, Portrait d'un geographe); Anton W.M. Mensing Collection, Amsterdam, died 1936 and then held in trust by the estate until sold, Amsterdam, Frederick Muller & Cie., November 15, 1938, lot 68 (as Antonio Moro, Portrait of Abraham Ortelius), where acquired by J. Paul Getty; J. Paul Getty Collection, California, until 1954 when donated to the J. Paul Getty Museum, Malibu, California, no. 54.PB.2. Literature & References: H. Hymans, Antonio Moro, son oeuvre et son temps, Brussels 1910, p. 156 ( as Antonio Moro); B.B. Fredericksen, Handbook of Paintings in the J. Paul Getty Museum, Malibu 1965, p. 11 (as Antwerp Painter, c. 1575-80 (possibly Adriaen Thomas Key); BB. Fredericksen, Catalogue of the Paintings in the J. Paul Getty Museum, Malibu 1972, p. 64, no. 79 (as Attributed to Adriaen Thomas Key); D. Jaffe, Summary Catalogue of European Paintings in the J. Paul Getty Museum, Los Angeles 1997, p. 66, reproduced (as Attributed to Adriaen Thomas Key); P. Binding, Imagined Corners: Exploring the World's First Atlas, London 2003, p. 42 (as Attributed to Adriaen Thomas Key). Catalogue Note: Abraham Ortels, usually Latinized to Ortelius, was a famous mapmaker and geographer, and is generally credited with the invention of the modern atlas. The present work is the only extant or known portrait of Ortelius painted during his lifetime and can be dated prior to 1579. It is almost certainly the prototype for Philips Galle's engraving that illustrates the frontispiece of Ortelius' 1579 atlas Theatrum orbis terrarum1. The engraving, in reverse, is however in oval format and omits the hand and globe, but otherwise corresponds extremely closely in the details. Previously attributed to Antonio Moro, the attribution to Key seems to have been first proposed by Burton B. Fredericksen in his 1965 catalogue of the J. Paul Getty Museum (see Literature). A 17th century copy by Rubens, commissioned by Balthasar Moretus, is in Antwerp, Plantin-Moretus Museum, no. V.IV.542, and another copy, of lesser quality, is in the Schoenborn Collection at Pommersfelden. In his 1618 A collector's cabinet with Abraham Ortelius and Justus Lipsius,3 Frans Francken's depiction of Ortelius is almost certainly copied from the present work. Francken has extended him to full-length, seated at a table, maintaining the left hand placed on the globe. Ortelius' tomb in the church of the Abbey of Saint-Michael in Antwerp originally contained a fuller version of the inscription that read: CONTEMNO ET ORNO/ MENTE MANU. Whether the Getty inscription is incomplete or is simply an earlier version is not known. The meaning of the inscription has caused much debate; amongst many suggestions for its meaning are 'I divide and I order' and 'I despise and honor'. 1. see The New Hollstein: Philips Galle, part IV, Rotterdam 2001, p. 149, no. 659, reproduced; 2. see M. Rooses, L'oeuvre de P.P. Rubens, Soest 1977, vol. IV, p. 227, no. 1014; 3. sold Amsterdam, Christie's, November 8, 1999, lot 126;
Sotheby's
Jan. 25, 2007
l,u - ATTRIBUTED TO ADRIAEN THOMASZ. KEY ANTWERP (?) CIRCA 1544 - AFTER 1589
Est: $20,000 - $30,000
SOLD BY THE J. PAUL GETTY MUSEUM TO BENEFIT FUTURE PAINTING ACQUISITIONS PORTRAIT OF ABRAHAM ORTELIUS, IN NEAR PROFILE, BUST-LENGTH, FACING TO THE RIGHT, RESTING HIS LEFT HAND ON A GLOBE measurements note 17 1/8 by 14 in.; 43.5 by 35.4 cm. inscribed center right: CONTEMNO/ ET/ ORNO oil on panel PROVENANCE I. Riesner Collection, Brussels; His sale, Brussels, Galerie Fievez, November 19, 1927, lot 65 (as Antonio Moro, Portrait d'un géographe); Anton W.M. Mensing Collection, Amsterdam, died 1936 and then held in trust by the estate until sold, Amsterdam, Frederick Muller & Cie., November 15, 1938, lot 68 (as Antonio Moro, Portrait of Abraham Ortelius), where acquired by J. Paul Getty; J. Paul Getty Collection, California, until 1954 when donated to the J. Paul Getty Museum, Malibu, California, no. 54.PB.2. LITERATURE H. Hymans, Antonio Moro, son oeuvre et son temps, Brussels 1910, p. 156 (as Antonio Moro); B.B. Fredericksen, Handbook of Paintings in the J. Paul Getty Museum, Malibu 1965, p. 11 (as Antwerp Painter, c. 1575-80 (possibly Adriaen Thomas Key); BB. Fredericksen, Catalogue of the Paintings in the J. Paul Getty Museum, Malibu 1972, p. 64, no. 79 (as Attributed to Adriaen Thomas Key); D. Jaffé, Summary Catalogue of European Paintings in the J. Paul Getty Museum, Los Angeles 1997, p. 66, reproduced (as Attributed to Adriaen Thomas Key); P. Binding, Imagined Corners: Exploring the World's First Atlas, London 2003, p. 42 (as Attributed to Adriaen Thomas Key). NOTE Abraham Ortels, usually Latinized to Ortelius, was a famous mapmaker and geographer, and is generally credited with the invention of the modern atlas. The present work is the only extant or known portrait of Ortelius painted during his lifetime and can be dated prior to 1579. It is almost certainly the prototype for Philips Galle's engraving that illustrates the frontispiece of Ortelius' 1579 atlas Theatrum orbis terrarumυ1. The engraving, in reverse, is however in oval format and omits the hand and globe, but otherwise corresponds extremely closely in the details. Previously attributed to Antonio Moro, the attribution to Key seems to have been first proposed by Burton B. Fredericksen in his 1965 catalogue of the J. Paul Getty Museum (see Literature). A 17th century copy by Rubens, commissioned by Balthasar Moretus, is in Antwerp, Plantin-Moretus Museum, no. V.IV.54υ2, and another copy, of lesser quality, is in the Schoenborn Collection at Pommersfelden. In his 1618 A collector's cabinet with Abraham Ortelius and Justus Lipsius,υ3 Frans Francken's depiction of Ortelius is almost certainly copied from the present work. Francken has extended him to full-length, seated at a table, maintaining the left hand placed on the globe. Ortelius' tomb in the church of the Abbey of Saint-Michael in Antwerp originally contained a fuller version of the inscription that read: CONTEMNO ET ORNO/ MENTE MANU. Whether the Getty inscription is incomplete or is simply an earlier version is not known. The meaning of the inscription has caused much debate; amongst many suggestions for its meaning are 'I divide and I order' and 'I despise and honor'. 1. see The New Hollstein: Philips Galle, part IV, Rotterdam 2001, p. 149, no. 659, reproduced; 2. see M. Rooses, L'oeuvre de P.P. Rubens, Soest 1977, vol. IV, p. 227, no. 1014; 3. sold Amsterdam, Christie's, November 8, 1999, lot 126;
Sotheby's
Nov. 14, 2006
ADRIAEN THOMASZ. KEY ANTWERP (?) CIRCA 1544 - AFTER 1589
Est: €35,000 - €45,000
OTHER PROPERTIES MARY MAGDALENE measurements note 45.8 by 31.9 cm. oil on panel, in a tortoise-shell veneer frame PROVENANCE Dr. Hans Wetzlar, Amsterdam, by 1963 (but probably acquired after 1952, since not in his catalogue of that year), His deceased's sale, Amsterdam, Sotheby Mak van Waay, 9 June 1977, lot 120 (as Frans Floris), for 21,000 Guilders to Verhaegen. EXHIBITED Laren, Singer Museum, Modernen van Toen 1570-1630: Vlaamse Schilderkunst en haar invloed, 15 June - 1 September 1963, (ex- catalogue; as Frans Floris). NOTE This painting is an important addition to the oeuvre of Adriaen Thomas Key. Key is mainly known for his portraits, and only a few history scenes are recorded. Nonetheless, this head can be compared to that of the Virgin in a monogrammed Holy Family by the artist in the John G. Johnson collection, now in the Philadelphia Museum of Art (inv. no. 430). The position of the Virgin's head, in reverse, as well as the use of light and shade is exactly the same as in the present painting. In style and subject matter, Key was almost certainly influenced in this picture by Frans Floris the Elder (1516-1570), under whom his own teacher Willem Key (died 1568) studied, and to whom this work was formerly attributed.
Sotheby's
Apr. 20, 2005
Adriaen Thomasz. Key (?Antwerp c. 1544-after 1589 Antwerp?)
Est: £4,000 - £6,000
Portrait of a lady, aged 28, three-quarter-length, in a black dress with brocade sleeves, white collar, cuffs and bonnet and with a gold chain around the waist dated and inscribed 'AN DNI 1576' (upper left) and 'AETATIS · SUAE 28' (AE in monogram, upper right) oil on panel 38 x 25 5/8 in. (96.5 x 65.1 cm.)
Christie's
Oct. 27, 2004
Adriaen Thomasz. Key (?Antwerp c. 1544-after 1589 Antwerp?)
Est: £7,000 - £10,000
Portrait of a lady, aged 28, three-quarter-length, in a black dress with brocade sleeves and a gold chain around the waist and with white collar, cuffs and bonnet dated and inscribed 'AN DNI 1576' (upper left) and 'AETATIS · SUAE 28' (AE in monogram, upper right) oil on panel 38 x 25 5/8 in. (96.5 x 65.1 cm.)
Christie's