Willem Key Sold at Auction Prices

Attributed to Willem Key (1515-1568), "Saint Mary Magdalene, " oil on two oak panels, 74x57 cm. Flemish Renaissance painter, renowned for portraits and religious works, blending Italian and Flemish styles.

Biography Following in the footsteps of his brother Wouters, also a painter, he moved to Antwerp, where he was appointed apprentice to Pieter Coecke in 1529. According to Carel van Mander, he later studied with Lambert Lombard in Liège, where he would have had Frans Floris as a classmate. In 1542 – shortly after Lombardo's return to Italy – he appears registered as an independent master in the guild of Saint Luke of Antwerp, of which in 1552 he was appointed dean. Registered in 1549 as a citizen of Antwerp, he died suddenly in 1568 after achieving wealth and a solid social position thanks to the portraits and historical paintings of him, painted with a scholarly hand according to the verses of Lamposonio to his portrait. Valued mainly as a portraitist, among those who sat for him were Cardinal Granvela and the Duke of Alba, whose portrait, preserved in the Liria Palace, is possibly the last one he painted and closest to another portrait of the same subject painted by Titian. Van Mander also praised him for his religious paintings, some of them destroyed in the iconoclastic attacks of the beeldenstorm or iconoclastic fury. In a work like The Last Supper from the Dordrecht Museum, the Italian influences, perceptible, for example, in the architectural backgrounds, and the Flemish details coexist satisfactorily with the portrait skills of the painter, who portrays himself as a beggar in the Lower right corner. This ability to incorporate the novelties that came from Italy without having traveled there and combine them with the Flemish tradition may explain why Lamposonio or Van Mander considered him an erudite painter. His disciple and distant relative was Adriaen Thomasz. Key, whose works are sometimes confused.

"Saint Magdalene," Attributed to Willem Key (1515-1568), Oil on Panel

Biography Following in the footsteps of his brother Wouters, also a painter, he moved to Antwerp, where he was appointed apprentice to Pieter Coecke in 1529. According to Carel van Mander, he later studied with Lambert Lombard in Liège, where he would have had Frans Floris as a classmate. In 1542 – shortly after Lombardo's return to Italy – he appears registered as an independent master in the guild of Saint Luke of Antwerp, of which in 1552 he was appointed dean. Registered in 1549 as a citizen of Antwerp, he died suddenly in 1568 after achieving wealth and a solid social position thanks to the portraits and historical paintings of him, painted with a scholarly hand according to the verses of Lamposonio to his portrait. Valued mainly as a portraitist, among those who sat for him were Cardinal Granvela and the Duke of Alba, whose portrait, preserved in the Liria Palace, is possibly the last one he painted and closest to another portrait of the same subject painted by Titian. Van Mander also praised him for his religious paintings, some of them destroyed in the iconoclastic attacks of the beeldenstorm or iconoclastic fury. In a work like The Last Supper from the Dordrecht Museum, the Italian influences, perceptible, for example, in the architectural backgrounds, and the Flemish details coexist satisfactorily with the portrait skills of the painter, who portrays himself as a beggar in the Lower right corner. This ability to incorporate the novelties that came from Italy without having traveled there and combine them with the Flemish tradition may explain why Lamposonio or Van Mander considered him an erudite painter. His disciple and distant relative was Adriaen Thomasz. Key, whose works are sometimes confused.

Willem Key (1515-1568) attributed to "Saint Magdalene" Oil on panel on two oak panels

Biography Following in the footsteps of his brother Wouters, also a painter, he moved to Antwerp, where he was appointed apprentice to Pieter Coecke in 1529. According to Carel van Mander, he later studied with Lambert Lombard in Liège, where he would have had Frans Floris as a classmate. In 1542 – shortly after Lombardo's return to Italy – he appears registered as an independent master in the guild of Saint Luke of Antwerp, of which in 1552 he was appointed dean. Registered in 1549 as a citizen of Antwerp, he died suddenly in 1568 after achieving wealth and a solid social position thanks to the portraits and historical paintings of him, painted with a scholarly hand according to the verses of Lamposonio to his portrait. Valued mainly as a portraitist, among those who sat for him were Cardinal Granvela and the Duke of Alba, whose portrait, preserved in the Liria Palace, is possibly the last one he painted and closest to another portrait of the same subject painted by Titian. Van Mander also praised him for his religious paintings, some of them destroyed in the iconoclastic attacks of the beeldenstorm or iconoclastic fury. In a work like The Last Supper from the Dordrecht Museum, the Italian influences, perceptible, for example, in the architectural backgrounds, and the Flemish details coexist satisfactorily with the portrait skills of the painter, who portrays himself as a beggar in the Lower right corner. This ability to incorporate the novelties that came from Italy without having traveled there and combine them with the Flemish tradition may explain why Lamposonio or Van Mander considered him an erudite painter. His disciple and distant relative was Adriaen Thomasz. Key, whose works are sometimes confused.

FOLLOWOER OF WILLEM KEY (1518-1568)

Saint Paul the Hermit at prayer Bears the inscription: AVE MARIA GRATIA PLENA Oil on panel H: 66 X W: 51.5 cm Suggested attribution to Melchior de la Mars SUIVEUR DE WILLEM KEY (1518-1568) Saint Paul l’Ermite en prière Porte l'inscription : AVE MARIA GRATIA PLENA Huile sur panneau H: 66 X L: 51,5 cm Une attribution à Melchior de la Mars a été suggérée

Willem KEY Breda, 1515/116 - 1568, Anvers Le Calvaire

Willem KEY Breda, 1515/116 - 1568, Anvers Le Calvaire Huile sur panneau Signé sur la croix W. Kay 102 x 74 cm Oil on panel Signed on the cross W. Kay 40 3/16 x 29 1/8 in.

WILLEM ADRIAENSZ. KEY (BREDA 1516-1568 ANTWERP) Venus and Cupid

WILLEM ADRIAENSZ. KEY (BREDA 1516-1568 ANTWERP) Venus and Cupid oil on panel 36 1/2 x 51 in. (92.5 x 129.5 cm.)

CIRCLE OF WILLEM ADRIAENSZ. KEY (BREDA C.1515-1568 ANTWERP) Rest on the Fli

CIRCLE OF WILLEM ADRIAENSZ. KEY (BREDA C.1515-1568 ANTWERP) Rest on the Flight into Egypt oil on panel 23 ¾ x 34 ¼ in. (60.3 x 87 cm.)

Key, Willem (Breda 1515/1516 - 1568 Antwerpen), zugeschrieben,

Key, Willem (Breda 1515/1516 - 1568 Antwerpen), zugeschrieben, "Mater Dolorosa", Öl auf Holz, parkettiert, 66 x 51 cm, verso abgeschliffen und parkettiert, alt restauriert. Anbei Kopie einer Expertise von Prof. Justus Müller Hofstede vom 10.01.1973 mit Zuschreibung an Willem Key. Provenienz: Galerie Meissner, Zürich; alte Rheinische Privatsammlung

WILLEM KEY

Portrait d’homme. Huile sur panneau. Daté 1560. 80 x 59 cm

Follower of Willem Key (Breda circa 1515-1568 Antwerp) Portrait of a lady, traditionally identified as Lady Elizabeth Audley, half-length, in black

Follower of Willem Key (Breda circa 1515-1568 Antwerp) Portrait of a lady, traditionally identified as Lady Elizabeth Audley, half-length, in black oil on panel 78.4 x 62.2cm (30 7/8 x 24 1/2in). For further information on this lot please visit the Bonhams website

CIRCLE OF WILLEM ADRIAENSZ. KEY (BREDA C.1515-1568 ANTWERP) Rest on the Flight into Egypt

CIRCLE OF WILLEM ADRIAENSZ. KEY (BREDA C.1515-1568 ANTWERP) Rest on the Flight into Egypt oil on panel 233⁄4 x 341⁄4 in. (60.3 x 87 cm.) Please note this lot is the property of a private individual.

Willem Key (Breda, 1515 ca. - Anversa, 1568), San Gerolamo

olio su tavola, cm 82x64, L’opera è corredata da un expertise di Mina Gregori.

*WILLEM KEY (1515-1568) (to be attributed to)

*WILLEM KEY (1515-1568) (to be attributed to) to be attributed to Holy Family. Panel. Touch-ups and restorations. Provenance: Dendermonde, private collection Elysée-Parmentier; Antwerp, sale room Wynen, 18.5.1914; private collection A monogrammed version of the same subject but elaborated with the infant Saint John, the lamb and an angel in front of a landscape (panel, 129.6 x 99.3 cm), but with a similar bunch of grapes was offered for sale at Christie's London, 9.12.1988, lot 46. 89 x 76 cm (109 x 97.5 cm) *WILLEM KEY (1515-1568) (toe te schrijven aan) Heilige Familie. Paneel. Retouches en restauraties. Herkomst: Dendermonde, privé-collectie Elysée-Parmentier (volgens niet-eigenhandige aantekening op reproductie in foto-archief M.J. Friedländer); veiling Antwerpen, Zaal Wynen, 18.5.1914; privécollectie. Een gemonogrammeerde versie van het onderwerp, uitgewerkt met de kleine Sint-Jan, het lam en een engeltje voor landschap (paneel, 129.6 x 99.3 cm), maar ook met een druiventros, werd aangeboden bij Christie's Londen, 9.12.1988, lot 46. 89 x 76 cm (109 x 97.5 cm) *WILLEM KEY (1515-1568) (à attribuer à) Sainte Famille. Panneau. Retouches et restaurations. Provenance: Dendermonde, coll. privée Elysée-Parmentier; vente Anvers, Salle Wynen, 18.5.1914; collection privée. 89 x 76 cm (109 x 97.5 cm)

attrib. WILLEM KEY (Dutch, 1515-1568)

a lady in a white cap unsigned, o/p, 17 by 14 in., framed Brian Koetser St. James, London paper label on reverse Exhibited at the Brian L. Koetser Gallery 1970./Autumn Exhibition. Purchased at the Indianapolis Antiques Show in June, 1976 from Child's Gallery, Boston. Has remained in the Indiana family to this time.

Willem Key (Breda 1515/16-1568 Antwerp) Portrait of an old lady,

Willem Key (Breda 1515/16-1568 Antwerp) Portrait of an old lady, bust-length, in a black dress with a white collar and headdress

KEY, WILLEM(Breda 1516 - 1568 Antwe

KEY, WILLEM (Breda 1516 - 1568 Antwerpen) Pietà. Öl auf Holz. 102 x 127 cm. Provenienz: - Sammlung Emmanuel La Roche (verso Etikette). - Auktion Sotheby's, London, 9.12.1981, Los 100 (verso Etikette). - Auktion Stuker, Bern, 13.-29.11.1997, Los 1277. - Schweizer Privatsammlung. Literatur: Jonckheere, Koenraad: Willem Key (1516-1568). Portrait of a humanist Painter, Turnhout 2011, Kat. Nr. A86, S. 167, Abb. S. 166. Das hier angebotene Gemälde ist eine von drei eigenhändigen Darstellungen der Pietà von Willem Key, die vor allem durch die Version in der Alten Pinakothek, München, bekannt ist (München, Bayerische Staatsgemälde Sammlungen, Alte Pinakothek, Inv. Nr. 539, Öl auf Holz, 112 x 103 cm, siehe Jonckheere 2011, Kat. Nr. A85, S. 163). Die dritte Ausführung befindet sich heute im Kunstmuseum Bergen (Inv. Nr. 722, Öl auf Holz, 103 x 126 cm, siehe ebd., Kat. Nr. A87, S. 167). Prof. Koenraad Jonckheere weist darauf hin, dass Willem Key seine Darstellung auf Quinten Massys' (1466-1530) Pietà basiert, eine sehr beliebte Antwerpener Komposition des frühen 16. Jahrhunderts (Öl auf Holz, 44 x 31,5 cm, Koninklijke Musea voor Schone Kunsten van België, Brüssel) dabei diese aber eigenständig variiert. Der Torso Christi ist in unserem Gemälde viel plastischer und gleicht gar einer anatomischen Studie. Damit setzt sich Key von seinem Vorgänger durch seine Kenntnis der italienischen Renaissance-Malerei deutlich ab. Auch das Gesicht der Maria in dieser Komposition wäre ohne Tizians (um 1490-1576) Mater Dolorosa im Museo del Prado, Madrid (Inv. Nr. P00443) nicht denkbar, was wiederum den Einfluss der italienischen Malerei auf das Oeuvre Willem Keys deutlich macht. In seinem Werkverzeichnis datiert Prof. Koenraad Jonckheere unser Gemälde um 1553, in die gleiche Zeit wie Keys Retabel mit der Beweinung Christi (Jonckheere 2011, Kat. Nr. A70, S. 136), welches neben der Komposition auch grosse Ähnlichkeiten in der Landschaftsgestaltung im Hintergrund unseres Gemäldes aufweist (siehe ebd. 2011, S. 165). KEY, WILLEM (Breda 1516 - 1568 Antwerp) Pietà. Oil on panel. 102 x 127 cm. Provenance: - Emmanuel La Roche collection (label verso). - Sotheby's, London, 9.12.1981, Lot 100 (label verso). - Stuker auction, Bern, 13.-29.11.1997, Lot 1277. - Swiss private collection.

Follower of Willem Key (Breda circa 1515-1568 Antwerp)

Portrait of an elderly lady of the van Heemstra family of Friesland, three-quarter-length, holding a pair of gloves and with her right hand resting on a skull inscribed and dated 'AETAT.70/1617' (upper right) and charged with the coat-of-arms of the Martena de Burmania and the van Heemstra families of Friesland (upper left) oil on panel 102 x 80.8cm (40 3/16 x 31 13/16in).

Circle of Willem Key (Breda circa 1515-1568 Antwerp) Jude the Apostle unframed

Jude the Apostle oil on panel 43.5 x 32.5cm (17 1/8 x 12 13/16in). unframed

Follower of Willem Key (Breda circa 1515-1568 Antwerp)

Portrait of Johana Peeters, half-length, in a black dress with a lace cap and ruff bears inscription and date 'JOHANA PEETERS/Ao 1581 AE 40' (upper left) oil on panel 64.3 x 48.1cm (25 5/16 x 18 15/16in).

FOLLOWER OF WILLEM ADRIAENSZ. KEY, (FLEMISH 1515-1568), PORTRAIT OF A GENTLEMAN

FOLLOWER OF WILLEM ADRIAENSZ. KEY (flemish 1515-1568) PORTRAIT OF A GENTLEMAN Oil on panel 19 7/8 x 15 1/8 in.

Circle of Willem Key (Breda 1515/6-1568 Antwerp)

Circle of Willem Key (Breda 1515/6-1568 Antwerp) The Pieta oil on panel, with a shaped top 39.6 x 34.2 cm.

FOLLOWER OF WILLEM ADRIAENSZ. KEY, (FLEMISH 1515-1568), PORTRAIT OF A GENTLEMAN

FOLLOWER OF WILLEM ADRIAENSZ. KEY (flemish 1515-1568) PORTRAIT OF A GENTLEMAN Oil on panel 19 7/8 x 15 1/8 in.

Willem Adriaensz. Key (Breda c . 1515/6-1568 Antwerp)

Willem Adriaensz. Key (Breda c. 1515/6-1568 Antwerp) Portrait of a Robert de Croÿ, Bishop of Cambrai (d. 1556), bust-length, in a black hat and doublet, with a lace collar and a fur mantle inscribed and dated 'ANυO DÑI 1547 ÆTA · SVÆ 56 ·' (along upper edge) oil on panel 16 5/8 x 12 7/8 in. (42.2 x 32.7 cm.) with the de Croÿ arms (upper left)

Willem Key , Breda circa 1515/6 - 1568 Antwerp a portrait of Margret Halseber of Basel, 'the lady with the two beards', head and shoulders, wearing a white headdress oil on panel

oil on panel

Willem Adriaensz. Key (Breda c. 1515/6-1568 Antwerp)

Saint Jerome adoring the Cross oil on panel 40 5/8 x 38 3/4 in. (103.2 x 98.4 cm.)

Willem Adriaensz. Key (Breda c. 1515/6-1568 Antwerp)

Saint Jerome adoring the Cross oil on panel 40 5/8 x 38 3/4 in. (103.2 x 98.4 cm.)

* WILLEM ADRIAENSZ. KEY BREDA CIRCA 1515/6 - 1568 (?) ANTWERP