Jodocus van Winghe Paintings & Artwork for Sale | Jodocus van Winghe Art Value Price Guide

May. 08, 2024
Jodocus (Joos) van Winghe, Nachfolge Samson and Delilah
Est: €3,500 - €4,000
Jodocus (Joos) van Winghe, Nachfolge 1544 Brüssel - 1603 Frankfurt a. M. Samson and Delilah Oil auf canvas on plywood. 72 x 122 cm. Restored. Damaged. Minor damage to frame (86 x 136.5 cm). After Raphael Sadeler, the Elders copperplate engraving (1589) after van Winghes original (Hollstein 180). provenance: collection of Hans Constantin Faußner, Munich.
Neumeister
Feb. 20, 2024
Joos de Winghe (Bruxelles 1544 - Francoforte 1603) attribuito
Est: €5,000 - €7,000
Joos de Winghe (Bruxelles 1544 - Francoforte 1603) attribuito Strage degli innocenti Olio su ardesia 23 x 27,5 cm La principale fonte sulla vita di Joos van Winghe è offerta da Karel van Mander, il quale afferma che che van Winghe si recò in Italia per approfondire i suoi studi, soggiornando a Roma per quattro anni. In seguito fu a Parma, dove lavorò nelle botteghe di Jacopo Bertoja e nella cerchia di Girolamo Bedoli assieme a Bartholomaeus Spranger. Dopo il suo ritorno a Bruxelles nel 1568 divenne pittore di corte di Alessandro Farnese, duca di Parma, poi governatore generale dei Paesi Bassi spagnoli, in questo periodo creò numerose composizioni religiose. Nel 1584, dopo la caduta di Anversa, si stabilì a Francoforte per questioni religiose assieme ad una nutrita squadra di colleghi (Hans Vredeman de Vries, Marten van Valckenborch e i suoi figli Frederik van Valckenborch e Lucas van Valckenborch, Joris Hoefnagel e Jacob Hoefnagel) e dipingendo opere con i più vari soggetti, in cui condensò in un linguaggio personale le influenze del Manierismo dell'Italia centrale e della Scuola di Fontainebleau. Inoltre, dopo l’arrivo a Francoforte, operando nella sfera degli artisti già alla corte dell'imperatore Rodolfo II, risentì stilisticamente della pittura della Scuola di Praga, detta anche Rudolfina. Tra i suoi allievi citiamo Hendrick de Clerck, suo allievo durante il suo soggiorno in Italia. Joos de Winghe (Brussels 1544 - Frankfurt 1603) attributed The Massacre of the Innocents Oil on slate 23 x 27,5 cm
Lucas Aste
Nov. 24, 2023
Winghe, Joos van (±1542-1603) (after). (Left part of the Gluttonous Couple).
Est: €80 - €100
Winghe, Joos van (±1542-1603) (after). (Left part of the Gluttonous Couple). Engraving, 27,4x21 cm., engr. captions below. - Sl. browned/ foxed; repaired section in the centre (w. loss of image); a few tiny holes.
Bubb > Kuyper: Auctioneers of Books, Fine Arts & Manuscripts
Nov. 18, 2023
Joos van Winghe, Portrait of a Frankfurt Patrician
Est: €6,000 - €8,000
Monogrammed, dated and inscribed upper left: AO. 1594/AETATIS.SUAE 49. This portrait of a patrician is an important testimony to Joos van Winghe's Frankfurt period. Van Winghe was one of the most idiosyncratic and witty Netherlandish artists of the late sixteenth century (fig. 1). The work is dated and monogrammed 1594, coinciding with the artist's time in Frankfurt, where he remained from 1584 until his death in 1603. Joos van Winghe was born in Brussels and, like many other Netherlandish artists of his time, went to Italy to complete his education and to work on decorative commissions in the country. Thus he is documented in artistic centres such as Rome and Parma, but we also know of his participation, for example, in the important decorative programme of the Palazzo Farnese in Caprarola. His connection to the Farnese family continued after his return to the Netherlands, where he became court painter to the governor Alessandro Farnese. The esteem in which the artist was held throughout Europe is evident in works such as the large-format history painting "Apelles and Campaspe", which he painted for Emperor Rudolph II (Vienna, Kunsthistorisches Museum, inv. no. 1677). He moved to Frankfurt in around 1584 for religious reasons. There he devoted himself primarily to printmaking.
Kunsthaus Lempertz KG
Mar. 30, 2023
Joos van Winghe, 1544 Brüssel – 1603 Frankfurt am Main, zugeschrieben
Est: €6,000 - €8,000
ALLEGORIE DER MUSIK Öl auf Leinwand. Doubliert. 114 x 130 cm. In Profilrahmen. In einem Innenraum, der von einem goldfadengesäumten roten Textil mit Goldquaste akzentuiert wird, sitzt eine reich mit Perlen, Goldschmuck und Federn verzierte Dame mit Theorbe. Neben ihr weitere Streich- und Zupfinstrumente sowie eine Orgel. (13407117) (13)
Hampel Fine Art Auctions
Dec. 08, 2022
Joos van Winghe, 1544 Brüssel – 1603 Frankfurt am Main, zugeschrieben
Est: €8,000 - €12,000
Allegorie der Musik Öl auf Leinwand. Doubliert. 114 x 130 cm. In Profilrahmen. In einem Innenraum, der von einem goldfadengesäumten roten Textil mit Goldquaste akzentuiert wird, sitzt eine reich mit Perlen, Goldschmuck und Federn verzierte Dame mit Theorbe. Neben ihr weitere Streich- und Zupfinstrumente sowie eine Orgel. Rest. (13407117) (13)
Hampel Fine Art Auctions
Nov. 17, 2022
JOOS VAN WINGHE (Brussels, 1544 - Frankfurt, 1603), ATTRIBUTED TO
Est: €7,000 - €9,000
Nativity Oil on panel, cm. 84,5x63. The prototype of this work is today commonly recognised in the painting attributed to Joos van Winghe in the Bob Jones University Museum in Greenville, South Carolina. As documented in the photographs in the Zeri Photo Library, there are three other versions of the same composition already attributed by the scholar to Aert Mytens (inv. no. 33408, 33406, 33407)
Bertolami Fine Art s.r.l.
May. 24, 2022
Attribuito a Joos van Winghe, Jodocus a Winghe o Jodocus van Winghen (Bruxelles 1544 - Francoforte sul Meno 1603)
Est: €8,000 - €12,000
Attribuito a Joos van Winghe, Jodocus a Winghe o Jodocus van Winghen (Bruxelles 1544 - Francoforte sul Meno 1603) Natività Olio su tavola 84 x 63 cm Di quest’opera ne esistono altre quattro versioni conosciute. Di tre esiste testimonianza fotografica presso la Fototeca Zeri, tutte catalogate dallo studioso come opere di Mytens Aert: http://catalogo.fondazionezeri.unibo.it/entry/work/35070/Mytens%20Aert%2C%20Adorazione%20dei%20pastori http://catalogo.fondazionezeri.unibo.it/entry/work/35044/Mytens%20Aert%2C%20Adorazione%20dei%20pastori http://catalogo.fondazionezeri.unibo.it/ricerca.v2.jsp?locale=en&decorator=layout_resp&apply=true&percorso_ricerca=OA&filtroartista_OA=14881&sortby=LOCALIZZAZIONE&batch=10 Studi più recenti convergono nell’identificare Joos van Winghe quale autore dell’opera. Infatti, a questo autore è assegnata la tavola conservata presso il Museum and Gallery of Bob Jones University di Greenville. La principale fonte sulla vita di Joos van Winghe è offerta da Karel van Mander, il quale afferma che che van Winghe si recò in Italia per approfondire i suoi studi, soggiornando a Roma per quattro anni. In seguito fu a Parma, dove lavorò nelle botteghe di Jacopo Bertoja e nella cerchia di Girolamo Bedoli assieme a Bartholomaeus Spranger. Dopo il suo ritorno a Bruxelles nel 1568 divenne pittore di corte di Alessandro Farnese, duca di Parma, poi governatore generale dei Paesi Bassi spagnoli. Creò numerose composizioni religiose durante il suo soggiorno a Bruxelles. Nel 1584, dopo la caduta di Anversa, si stabilì a Francoforte per questioni religiose assieme ad una nutrita squadra di colleghi, tra cui ricordiamo Hans Vredeman de Vries, Marten van Valckenborch e i suoi figli Frederik van Valckenborch e Lucas van Valckenborch, Joris Hoefnagel e Jacob Hoefnagel. Dipinse opere con i più vari soggetti. Con abilità condensò in un linguaggio personale le influenze del Manierismo dell'Italia centrale e della Scuola di Fontainebleau. Inoltre, dopo l’arrivo a Francoforte, operando nella sfera degli artisti già alla corte dell'imperatore Rodolfo II, risentì stilisticamente della pittura della Scuola di Praga, detta Rudolfina. Tra i suoi allievi citiamo Hendrick de Clerck, suo allievo durante il suo soggiorno in Italia. Attributed to Joos van Winghe, Jodocus a Winghe or Jodocus van Winghen (Brussels 1544 - Frankfurt am Main 1603) Nativity Oil on panel 84 x 63 cm There are four other known versions of this artwork. There is photographic evidence of three at the Zeri Photo Library, all cataloged by the scholar as works by Mytens Aert: http://catalogo.fondazionezeri.unibo.it/entry/work/35070/Mytens%20Aert%2C%20Adorazione%20dei%20pastori http://catalogo.fondazionezeri.unibo.it/entry/work/35044/Mytens%20Aert%2C%20Adorazione%20dei%20pastori http://catalogo.fondazionezeri.unibo.it/ricerca.v2.jsp?locale=en&decorator=layout_resp&apply=true&percorso_ricerca=OA&filtroartista_OA=14881&sortby=LOCALIZZAZIONE&batch=10 More recent studies converge in identifying Joos van Winghe as the author of the artwork. In fact, this author is assigned the panel kept at the Museum and Gallery of Bob Jones University in Greenville.
Lucas Aste
May. 21, 2022
Joos van Winghe, An Allegory of Fama
Est: €70,000 - €90,000
Signed upper right: Jodocus W. The proceeds from this lot and Lempertz´s commission will be donated to humanitarian aid in the Ukraine. She announces a person's fame, but also spreads evil rumours and malicious gossip - hardly any figure from antiquity is as contradictory, and for that reason as fascinating, as Fama, who makes her first major appearance in the Aeneid, where it is she who spreads the rumour about the unseemly relationship between Aeneas and Dido. Joos van Winghe shows Fama as a winged female being with fluttering hair, dressed in light, airy garments, sitting on a cloud and hovering above the earth. She blows one of her trumpets, from which hang banners covered with eyes. This allegory of Fama, a decidedly elegant figura serpentinata, is remarkable in several respects: it is one of only four signed paintings by Joos van Winghe (two are in the Kunsthistorisches Museum, Vienna); it is an important testimony to the artist's journey to Italy; and it was obviously widely known north of the Alps, certainly largely as a result of the congenial engraving by Johann Sadeler (ill. 1). The fact that Joos van Winghe's allegory of fame was well-known and considered an exemplary representation of the motif is shown, for example, in the French edition of Cesare Ripa's “Iconologia” (probably the most widely consulted pictorial source for artists at the time), published in 1643. There we find a stylised form of Joos van Winghe's “Fama” under "Renommée", the French term for fame (ill. 2). This entry is also interesting because it offers an explanation of the depiction's iconography. According to the Iconologie, Fama is winged, lightly clothed and floats on a cloud because she never stays in one place and moves with great speed spreading good and bad everywhere. Fame, but also rumour, as is still known today in the vernacular, is said to spread "in a flash". Traditionally, Fama was portrayed in a different manner, namely as a figure running swiftly over the earth, as Vergil describes her in the Aeneid. It was not until the 16th century that the hovering Fama appeared more frequently in Italy as well as in the Netherlands, with this figure always representing the good Fama (Fama bona) who proclaims glory. In designing his Fama, Joos van Winghe drew on models from Netherlandish graphic art, such as Hendrick Goltzius' "Fama and Historia" or Philippe Galle's representation of the allegory. In 16th-century Italy, the spread of this figure was also linked to the new self-fashioning and self-confidence of artists, which was evident, for example, in self-portraits, (auto)biographies, artists' houses or the founding of academies. In his house in Arezzo, for example, Giorgio Vasari furnished a "Camera della Fama" with frescoes depicting personifications of the arts in which Fama sat enthroned on a globe in the centre (ill. 3). Vasari's biographies of the most eminent artists, the "Vite", for which he is still primarily known today, was accompanied by a woodcut depicting Fama hovering over the arts. "UBIQUE SEMPER" be her motto, Vasari wrote elsewhere, in his Zibaldone: "EVERYWHERE - ALWAYS". For Vasari, Fama, audible everywhere, proclaimed the eternal glory of the artist. Joos van Winghe may have become acquainted with this new self-confidence among the artistic community during his stay in Italy. As Karel van Mander reported, he worked in Rome for Alessandro Farnese, nepote of Paul III; one of the most cultivated and powerful patrons in Rome, who consorted with scholars and artists (including Vasari). For Joos van Winghe, who always signed with the Latin version of his name – as he does in the present work – this was certainly an intellectually and artistically stimulating environment. When the artist returned to Brussels to work for Alessandro Farnese, Duke of Parma and Governor of the Southern Netherlands (who bore the same name as the Roman cardinal), he probably brought with him the new self-image of the artist as well as the new conception of Fama (for more on the artist's in Italy see Nicole Dacos, Voyage à Rome, Les artistes européens au XVIe siècle, Brussels 2012, passim). For Joos van Winghe, artistic fame was a central theme in his work; as shown by two of his major works, which depict the tale of Apelles and Kampaspe from Pliny's “Naturalis Historia”, a quintessential story with regard to the special status of the artist (both works now in the Kunsthistorisches Museum, Vienna). In the first version for Rudolph II, he painted his friend and colleague, the imperial court painter Bartholomäus Spranger, as Apelles. In the second, more figurative version (ill. 4), he depicts himself as this most important painter of antiquity - with the image of Fama floating above him. This Allegory of Fame, closely related to the works in Vienna, is an expression of Joos van Winghe's self-confidence as an artist. With an artist as subtle as Joos van Winghe, it is probably no mere coincidence that he inscribed his signature directly onto the golden trumpet into which Fama blows: Thus, the Allegory of Fame forever announces the glory of its creator.
Kunsthaus Lempertz KG
Jun. 24, 2021
Joos van Winghe, 1542/44 Brüssel – 1603 Frankfurt, zug.
Est: €70,000 - €90,000
Die Gefangennahme des Samson durch die Philister Öl auf Holz. 97 x 125 cm. Die Darstellung illustriert die aus dem Alten Testament überlieferte Legende, wonach der Held Samson von den Philistern besiegt werden konnte, nachdem ihm seine Gefährtin Dalila das ihm Kraft verleihende Haar abgeschnitten hatte. Die ungleiche Beziehung zwischen dem Israeliten Samson und der Philisterin Dalila ist ein Mythos, der auf die Gegensätze Sonne (= Samson) und Nacht (= Dalila, Laila) zurückgeht. Mit dem Verlust des Haares (Sonnenstrahlen) verliert Samson die Kraft. Hier ist die Bibelgeschichtlich wörtlich inszeniert: Am Boden liegt der bereits niedergekämpfte Samson, während sich Dalila auf ihn niederbeugt. In dieser Legendenvariation hält der Soldat die Schere in der rechten erhobenen Hand. Die vielen Begleitfiguren der Szenerie sind ein typisches Merkmal in der Malerei des genannten Künstlers, der sich auf solche vielfigürlichen Szenen spezialisiert hat. Ein weiteres Bild desselben Themas schuf er um 1580; dieses befindet sich im Museum Gemäldegalerie Düsseldorf. Sein Malstil verrät vor allem in der Wiedergabe der Figuren den Einfluss von der manieristischen Malerei von Bartholomäus Spranger (1546-1611), Jan Speckaert (1540-1577) oder Anthonie van Santvoort (um 1552-1600). Van Winghe, der aus religionspolitischen Gründen nach Frankfurt zog und dort 1588 Bürger wurde, gleichzeitig auch Mitglied der „Niederländischen Malerschaft“ in Frankfurt a. M. Aufträge erhielt er von Kaiser Rudolf II. A. R. Literatur: Vgl. Hermann Arthur Lier, Wingen, Joost van, in: Allgemeine Deutsche Biographie (ADB). Band 43, Duncker & Humblot, Leipzig 1898, S. 428 f. Vgl. Alexander Rauch, „Mythos im Judentum“, Kapitel Samson und Dalila, Leipzig 2021. (1270231) (2) Joos van Winghe, 1542/44 Brussels – 1603 Frankfurt, attributed THE CAPTURE OF SAMSON BY THE PHILISTERS Oil on panel. 97 x 125 cm. The many staffage figures are typical for van Winghe, who specialised in such multi-figure scenes. He created another painting with the same subject ca. 1580 which is held at the Gemäldegalerie Düsseldorf. Literature: Compare H. A. Lier, Wingen, Joost van, in: Allgemeine Deutsche Biographie (ADB). Vol. 43, Duncker & Humblot, Leipzig 1898, pp. 428. Compare A. Rauch, Mythos im Judentum, Kapitel Samson und Dalila, Leipzig, 2021.
Hampel Fine Art Auctions
May. 21, 2021
Joos van Winghe (attrib.), ink and wash on paper
Est: $400 - $600
Attributed to Joos van Winghe (Flemish, 1544-1603), Genre Scene, ink and wash on paper, no signature observed, dated "1603" lower left, 7"h x 6.75"w (sight), 11"squ (frame)
Millea Bros Ltd
Apr. 15, 2021
R. Sadeler (1560-1628) - Heliogabalus and the Wise Women, Joos van Winghe
Est: €250 - €350
This is one of a series of four plates showing the power of women over men: pl.4 [Holl. 180-183]. After Joos van Winghe (artist after) Flemish, 1544 - 1603. Signed R.S fec: et excud … I a Winge in. Heliobalus, officially known as Antonius was a Roman emperor. He married four women, including a Vestal Virgin, and lavished favours on male courtiers thought to have been his lovers. He wore women's clothing, preferred to be called a lady and developed a reputation among his contemporaries for extreme eccentricity, decadence, and zealotry.
Old Master Print
Nov. 19, 2016
Gemälde Jodocus van Winghe
Est: -
Gemälde Jodocus van Winghe 1544 Brüssel - 1603 Frankfurt Flämischer Maler, in den 1560er Jahren hielt er sich in Italien auf, danach ist er als Hofmaler des Gouverneurs der Niederlande Alessandro Farnese in Brüssel nachgewiesen. 1584/1585 zog v. W. aus religiösen Gründen nach Frankfurt. Hier erhielt er zahlreiche Aufträge u.a. durch den deutschen Kaiser Rudolf II., einen der bedeutendsten Mäzene seiner Zeit. ''Frankfurter Bürgerin im Alter von 49 Jahren'' o. li. monogrammiert u. dat. 1594 Öl/Lwd./Holz, 61,7 x 47,5 cm Lit.: AKL; Die Magie der Dinge. Stilllebenmalerei 1500-1800 (K Frankfurt am Main/Basel), Ostfildern-Ruit 2008.
Auktionshaus Döbritz
Nov. 19, 2011
TAVERNE SCENE IN THE NIGHT
Est: €12,000 - €14,000
JOOS VAN WINGHE, attributed to, TAVERNE SCENE IN THE NIGHT, Oil on panel, 25,4 x 20,3 cm
Kunsthaus Lempertz KG
Nov. 19, 2010
Winghe, Jodocus van1544 Brussels - 1603 Frankfurt/Main - circle Death of the Virgin.
Est: €4,200 - €4,500
Winghe, Jodocus van 1544 Brussels - 1603 Frankfurt/Main - circle Death of the Virgin. Oil on wood. 54,5 x 43,5cm. Framed. On verso: An old handwritten note on the panel.
Van Ham Kunstauktionen
Oct. 29, 2010
Attributed to Joos van Winghe (Brussels 1542/44-1603 Frankfurt)
Est: £5,000 - £8,000
Attributed to Joos van Winghe (Brussels 1542/44-1603 Frankfurt) An amorous copule in an interior with a tortoise oil on panel 15 x 10½ in. (38.1 x 26.7 cm.)
Christie's
Jul. 08, 2008
Heliogabal and the Wise Women
Est: £18,000 - £25,000
Joos van Winghe (Brussels 1542/44-1603 Frankfurt) Heliogabal and the Wise Women with inscription 'L.V 1561' black chalk, pen and grey ink, brown wash, heightened with white, on light brown paper, incised for transfer 8½ x 11½ in. (215 x 290 mm.)
Christie's