Anton Mozart Paintings & Artwork for Sale | Anton Mozart Art Value Price Guide

Sep. 20, 2024
ANTON MOZART
Est: CHF1,000 - CHF1,500
ANTON MOZART (1573 Augsburg 1625) Ecce homo. Pen and brown ink, grey wash, with traces of black pencil. Pen and brown ink border line. Monogrammed on upper margin to the right in pen and black ink: AM. 35.3 x 24.3 cm. Provenance: - Sale Galerie Fischer, Lucerne, 5 June 1990, Lot 5143. - Private collection, Switzerland. ------------------------------------------------- ANTON MOZART (1573 Augsburg 1625) Die Schaustellung Christi. Feder in Braun, grau laviert. Spuren von schwarzem Stift. Die Einfassungslinie mit brauner Feder. Mit schwarzer Feder am oberen Rand rechts monogrammiert: AM. 35,3 x 24,3 cm. Provenienz: - Galerie Fischer, Luzern, Auktion vom 5. Juni 1990, Lot 5143. - Privatbesitz Schweiz.
Koller Auctions
May. 16, 2024
Anton Mozart, Extensive Landscape with Rafters
Est: €25,000 - €35,000
Monogrammed lower right: AM Compared to his Augsburg contemporaries Hans Rottenhammer, Johann König and Mathias Kager, the work of Anton Mozart is still largely unknown today. Yet Mozart was a celebrated artist during his lifetime. He was praised by Philipp Hainhofer as an "outstanding landscape painter" (Rudelius-Kamholz). Hainhofer himself was not only a famous cabinetmaker, but also a successful art agent who brokered works by Mozart to the Duke of Pomerania-Stettin and Maximilian I of Bavaria, among others. Mozart was primarily active as a landscape painter. His painting was characterised by Flemish influences, above all Pieter and Jan Brueghel the Younger and Lucas van Valckenborch, but Mozart processed these influences in his own, thoroughly personal way and revealed himself to be an original and talented artist. Due to his somewhat more detailed compositions compared to the Flemings and the unconventional perspective, his works are easily recognisable from other painters of his time - even in this painting with its complex composition. He uses vivid colours to distinguish between foreground and background, while the winding river with the figures on a raft draws the viewer's gaze into the distance.
Kunsthaus Lempertz KG
Feb. 26, 2022
Anton Mozart, attr., Turm im Gebirge
Est: -
Anton Mozart, attr., Turm im Gebirge auf einer Bergkuppe thronender Wachturm hinter Bäumen, in weiter Sommerlandschaft, zu Füßen des Turmes vielfigürliche Staffage wie Ritter zu Pferd, Landsknechte mit Hellebarden und Hunden, effektvolle, mit spitzem Pinsel lasierend erfasste Malerei, Öl auf Kupferblech, wohl 17. Jh., unsigniert, rückseitig neuzeitliches Etikett mit ungeprüfter Zuschreibung "Mozart, Anton (Augsburg 1573-1625) ...", Malgrund gering wellig, restauriert, gerahmt, Falzmaße ca. 27 x 39 cm. Künstlerinfo: auch Motzhart, dt. Maler (1572 oder 1573 bis 1625 Augsburg), Sohn und ab 1587 Schüler des Malers Christoph Mozart, wohl beeinflusst von Lucas van Valckenborch und Jan Brueghel dem Älteren, erhielt 1598 das Meisterrecht in Augsburg und betrieb hier 1602-23 eine Lehrwerkstatt, erlangte Berühmtheit für seine Gemälde des 1615/16 entstandenen Pommerschen Kunstschranks für Herzog Philipp II. von Pommern, tätig in Augsburg, Quelle: Thieme-Becker, Saur "Bio-Bibliographisches Künstlerlexikon", Müller-Singer, Seubert, Müller-Klunzinger, Nagler, Nagler Monogrammisten, Stadtlexikon Augsburg, Bénézit und Wikipedia.
Auktionshaus Mehlis GmbH
Nov. 27, 2021
Anton Mozart (Augsburg 1573 - Augsburg 1625). Extensive Landscape with Rafters.
Est: -
Oil/wood, 35 x 45,5 cm, lo. ri. monogr. AM, on the reverse collector's seal, min. rest. - Provenance: From the possession of the consignor's grandmother, thence by desent. - German landscape and history painter. Little is known about the artist's education and life. In 1857-61 he learned painting in Augsburg, possibly from his father. One of his best-known works is the depiction of the handing over of the "Pomeranian Art Cabinet", created in 1615-16. Mus.: Berlin, Augsburg, Basel a. others Lit.: Thieme-Becker, Bénézit.
Auktionshaus Stahl
Oct. 30, 2021
Mozart, Anton (1576 - 1625), zugeschrieben,
Est: -
Mozart, Anton (1576 - 1625), zugeschrieben, "Wachturm mit Blick auf weite Landschaft", Öl auf Kupfer, 26 x 38.5 cm, wenige winzige Farbabsprünge am Rand. Provenienz: Rheinischer Privatbesitz. Nur selten tauchen Werke des Augsburger Künstlers, der für die malerische Ausarbeitung des Pommerschen Kunstschranks bekannt ist, im Handel auf. Dieses zugeschriebene Gemälde zeigt im Zentrum einer weiten sommerlichen Landschaft ein ungewöhnlich hohes Gebäude, welches sich bei näherem Blick als Wachturm entpuppt. Dies verdeutlicht der Maler in vielen kleinen Szenen, wie in der Personenkontrolle durch die Soldaten und in dem Ausbruchsversuch eines Gefangenen im Vordergrund sowie durch eine Überfallszene im Hintergrund.
Auktionshaus Plückbaum
Sep. 21, 2016
Anton Mozart, The Burning of Troy
Est: €6,000 - €8,000
Monogrammed and dated lower right: AM 1614
Kunsthaus Lempertz KG
Jun. 30, 2016
Anton Mozart, 1573 – 1625 Augsburg, zug.
Est: €14,000 - €16,000
Anton Mozart, 1573 – 1625 Augsburg, zug. DER KALVARIENBERG Öl auf Kupfer. 28 x 41 cm. In randbemaltem Rahmen mit kleinen Medaillondarstellungen von Heiligen Päpsten, Kirchenvätern und Evangelisten, dazwischen Szenen des Leidenswegs Christi bis zur Auferstehung. Augsburger Maler der im Stilcharakter von Jan Brueghel d. J. (1601 - 1678) gearbeitet hat, bekannt für seine vielfigurigen und detailreichen Landschaften und Gruppenbilder. Das vorliegende Gemälde als eine Wiederholung eines Gemäldes von Brueghel. Hier wird die Szenerie allerdings noch wesentlich durch einen größeren Zulauf der Menschenmenge von rechts bereichert, die aus dem Tal von Jerusalem heraufziehen. Abweichend ist vor allem auch der bergige Hintergrund, ferner die Tatsache, dass der Maler hier im Bild die Stadt Jerusalem in durchlichteter, geisterhafter Erscheinung wiedergegeben hat, was im Gemälde Brueghels nicht der Fall ist. Auch die Burganlage links oben ist eine Erfindung des Malers. Die kleinen Medaillon-Gemälde wohl ebenso von der Hand des Meisters des Hauptbildes. (10613614) (11) Anton Mozart, 1573 – 1625 Augsburg, attributed MOUNT GOLGOTHA Oil on copper. 28 x 41 cm. The frame of the painting is decorated with small medallion paintings showing Holy Popes, Church Fathers and Evangelists and alternating scenes from the Passion up to the Resurrection. This artist from Augsburg who painted in the style of Jan Brueghel the Younger (1601 - 1678) was renowned for his multi-figured and detailed landscapes and group pictures. The present painting of Mount Golgotha is a copy after a work by Brueghel. But this version differs from Breughel's painting as the scene is extended to include a large crowd and a hilly background where the city of Jerusalem is depicted illuminated and with an almost ghostly character. The city of Jerusalem is depicted illuminated and with an almost ghostly character.
Hampel Fine Art Auctions
Nov. 15, 2014
Anton Mozart, attributed to, The Adoration of the Magi
Est: €30,000 - €35,000
The painter of this unusual and well preserved work on copper can definitely be localised to Germany. The Renaissance architecture and the figures, which can be dated to circa 1580/1600, both confirm this. The artist has depicted the biblical story in a busy contemporary town. To the right we see a group of men in period clothing, one of which looks directly at the viewer, leading them into the image - a motif often used for self-portraits. Behind this group the scene opens up onto a twisting web of busy streets stretching out into the distance. This composition, especially the unusual tower in the centre of the piece connected to the neighbouring buildings via a bridge, is reminiscent of the works of Anton Mozart, an early Augsburg painter whose oeuvre is as yet largely unknown.
Kunsthaus Lempertz KG
May. 11, 2013
ANTON MOZART, THE TOWER OF BABEL
Est: €250,000 - €300,000
In comparison to his Augsburg contemporaries, such as Hans Rottenhammer, Johann König or Mathias Kager, the work of Anton Mozart is still somewhat unknown. He was praised by Philipp Hainhofer however as being an "outstanding landscape painter" (Rudelius-Kamholz). Hainhofer himself was not only a famous cabinet maker but also a successful art agent, mediating works by Mozart to clients such as the Duke of Pomerania-Stettin and Maximilian I of Bavaria amongst others. Our painting has only recently been identified as a work by Mozart. Marion Rudelius-Kamholz expressed in her dissertation that it could indeed be an image from an Augsburg painter and rejected the former attribution to Marten Valckenborch (op. cit. H. Minkowski), as did Alexander Wied. In the painting she recognised the prototype for Mozart's designs but did not venture to confirm such an attribution after having only seen illustrations of the work (op. cit. p. 129). In the 1600s the theme of the Tower of Babel, a symbol of hybris and divine punishment, was widely popular and can be seen in Mozart's oeuvre on four occasions. Apart from one painting on wood with similar dimensions (now in unknown private possession, cat. no. 1 A20), the paintings are all smaller than our work. All of the variations depict two conspicious ramps leading up to the higher floor of the tower. The fore and middlegrounds of the compositions feature kilns, mills, building sheds, carts and mules along with a plenty of workmen handling wood and stone. On a hill to the right of this picture King Nimrod sits on a horse, accompanied by servants holding a sunshade over him. Before him an architect shows him the plans for the tower. Out of all of Mozart's variations on the theme, a tempera on parchment work in the Berlin Kupferstichkabinett (27 x 32 cm, signed, dated 1606, KDZ 17 904) is most similar to ours. The main difference lies in the range of hills in the background of the Berlin composition where, in our painting, the landscape opens to the sea. It is this area that reasons for Mozart's reputation as an outstanding landscape painter. Painted extremely delicately and with a bright colour palette Mozart picks out the distant ships and the shore. A small island to the top of the work is reminiscent of Venice, where a stay at some point is suspected although not yet confirmed. His fellow painters Rottenhammer and König were however active in the lagoon. Also evident in the painting is the Dutch influence and particularly that of Pieter and Jan Brueghel the Younger and Lucas Valckenborch. It is clear however that Mozart combined these influences with his own developing signature style. The attribution of this painting will hopefully bring to light works by Mozart formerly attributed to another hand. His monogram is usually cleverly hidden in the composition; here, it is the large A inserted with the smaller M in the rooftop arch of the building shed.
Kunsthaus Lempertz KG
Sep. 17, 2011
MOZART, ANTON
Est: - €8,000
MOZART, ANTON 1573 Augsburg - ebenda 1625Kampf um Troja Öl auf Holztafel, 36 cm x 47 cm, min. Rissbildung am rechten Rand, rechts unten monogrammiert ‚AM' und datiert ‚1622', Rahmen.Provenienz: Privatsammlung Rheinland.
Hargesheimer Kunstauktionen Düsseldorf