Third offer: result

I made a third offer, at DVC in Ghent, for what they described as a "German School, 16th or 17th century" Adoration, oil on copper, 35 by 28 cm, estimated at 700 to 1,000 Euro.

I was a bit amazed that an auction house in Flanders didn't recognise the style as that of Frans Francken II (by now well known to readers of this blog). Francken II (and by extension all the Franckens) commonly reused their more succesful compositions many times. For this one, I only found two other examples.

First I found this lot from Christie's, sold as Studio of Francken II (perhaps Hieronymus Francken II or Ambrosius Francken II) in 1997 for £2,875. It is a simplified version (loses some parts of the composition), but somewhat better painted in some details.

Some further searching revealed what may be the original version of this painting, this time in a flower garland. The flowers are attributed to the Circle of Jan Brueghel II, and the interior again to the Studio of Francken II. It sold at Christie's in 2002 for a nice £18,800. It has the exact same composition as the one that was for sale at DVC, with the seethrough to the palm tree on the right, and the God-the-Father above, which were both missing in the 1997 copy.

Another version, very comparable to the one for sale, is, according to the RKD, kept in the Museum Catharijneconvent in Utrecht, but I can't find it on the website of that museum.

I would estimate the one for sale at DVC at at least $2,000.

And sure enough, I lost it as it ended at 2,200 Euro, which seems to be a correct, somewhat low price but no longer a true bargain.

Copy (?) after Melchior de la Mars, or an original?

At Horta in Brussels, they sell on 11 May 2015 a "Flemish School, 17th century" depiction of Mary Magdalen, estimated at 3,500 by 5,000 Euro.

It is a copy(?) of the Mary Magdalen by Melchior de la Mars in the Royal Museums of Fine Arts of Belgium in Brussels. It has the exact same dimensions (113 by 86 vs. 111,6 by 86,5), and seems to be painted very well. The different colour is probably a condition issue (the one for sale should be cleaned, while the one in the Museum seems overcleaned).

I can't find good price indications of what an original De la Mars would be worth, they are very rare, but it should be a lot more than the estimate. If it is a copy, it is a good one (the Galerie Moderne site gives very large images, letting you zoom in on every detail: e.g. the right wing of the angel is beautiful) and should be worth at least the top end of the estimate, but an original could well be worth ten times as much.

Second bid: result

At Dreweatts, auction of 28 April 2015, I bid on lot 1 (so not really buried in the auction), two works; first a "presentation of the virgin" (main image of the lot) by an unknown artist, which looks familiar to me but which I can't place and can't find online, so that one is just a bonus.

The second, by a different hand (but also Flemish) is an Assumption of the Virgin, oil on paper laid on panel, 36 by 27 cm. It is damaged, and badly painted in some aspects, but the composition, use of colour, and execution of other persons and details show a skilled hand.

My guess is that it is an elaborate study for the composition of what is arguably the masterpiece of Theodoor van Loon, a very good but somewhat forgotten contemporary of Rubens and the like, who e.g. made the main paintings for the Basilica of Scherpenheuvel. The Assumption by Van Loon is now in the Royal Museums of Fine Arts of Belgium in Brussels. It is a huge work, 356 by 237 cm, a triumphant altar piece originally intended for the Beguinage Church in Brussels.

The final work is significantly different from the work for sale here, showing that it is not a copy after the work but a preparatory oil sketch, one of the last before the final composition was decided. It is a unique view in the work of this artist, halfway between simple drawings and a finished major work.

A later, probably final preparatory version of the work, measuring 103 by 74 cm, is now kept in the main church of Molenbeek (in Brussels). This one has no obvious differences compared to the finished work.

The attention for Van Loon has increased over the last 5 years, and I know of at least two art historians in Belgium studying his art and preparing a book on him. I guess they will have interest in and an opinion on this work! What's it worth? Anybody's guess, I suppose, but more than the estimate of £400 to 600 given for the two works in the original sale!

So, the auction ended at £2,200, and I didn't win. It looks as if at least two other people went for this one as well, whether they did so for the same reason or because they recognised the other picture (or both) is not clear obviously. Let's hope they go to a good home (a museum in Belgium would be nice)...

The importance of getting names right

At Shapes, auction house in Edinburgh, they sell on 2 May 2015 a "T. de Brackelar" signed work, estimated at £100 to 200.

I never heard of anyone named De Brackelar, but both the name and the style of work are reminiscent of Ferdinand de Braekeleer, and a signature is easy to mistake in this way. A work by De Braekeleer is worth ten times the estimate (sometimes more, depending on subject, quality, provenance, size, condition: typical good example pictured), even in this condition.

Deposition, Follower of Hugo Van der Goes

At Daguerre, part of Drouot Paris, they sell on 13 May 2015 as Lot 61 a Deposition by a "Late 16th century Flemish follower of Hugo Van der Goes", estimated at 2,500 to 3,000 Euro. It's a decent painting with condition issues, but not a sleeper master painting.

It seems likely that some better picture is at the origin of this one, since I could find other paintings that are also based on the same composition. One was a much worse picture at ArtValue, the other one a somewhat similar but better picture that was sold at Christie's Amsterdam in 2014 for 55,500 Euro, or some 20 times the current estimation! Other versions were sold at Sotheby's in 2001, are kept at the Catherijneconvent in Utrecht, in Nizhny Novgorod, ...

They probably all go back to a Van der Weyden composition, a workshop version of which is kept at the Gösta Serlachius Museum, Mänttä, Finland. The Christie's one above, just like nearly all other ones I could find, is a rather faithful copy, while the one for sale is more remote and probably later. I don't see a lot of Van der Goes in it though.

Copy after Jasper Van der Lanen

At Veritas, a Portuguese auction house, they sell on 29 April 2015 a "Dutch School of the 18th century" Piramus and Thisbe, estimated at 2,000 to 3,000 Euro.

It was previously sold at Alcala in October 2014 for 1,200 Euro, as 17th century Flemish School.

What neither auction house seems to have noted is that it is a copy of a work (but with a different landscape) by Jasper van der Lanen, an early 17th century Flemish artist: this work was for sale at Dorotheum in 2011, estimated at 4,000 to 6,000 Euro, but didn't sell. It may be that both go back to an even earlier work, but I could find no evidence for said work.

German master, Pieter Coecke or Joos van Cleve?

At Lempertz, on 16 May 2015, they sell a "German Master, 16th century" depiction of Saint Jerome, estimated at 22,000 to 26,000 Euro. A very nice painting, no matter who painted it, inspired by a 1521 work by Dürer. Lempertz indicates that version by Flemish masters like Pieter Coecke van Aalst are known, but attributes it to a German master because of the angular painting style, and the very busy decoration.

Other sites have attributed other versions with nearly the exact same decoration to Coecke or Joos van Cleve though, so it seems that the opinions are divided.

The above was attributed to Circle of Coecke at Bonham's in 2010: apart from the view through the window on the left, the extra details at the top, and the addition of the lion (typical of Saint Jerome) on the right, it is nearly identical to the one for sale, so they probably should be attributed to the same artist (or circle).

And then there is another version in the Cathedral of Burgos, attributed to Joos Van Cleve. This one is even closer to the one for sale, with the same book on the right and a very similar landscape in the background. In fact, apart from the bits to the top which are missing in the Lempertz version, it's hard to see any difference between those two, apart from the fact that the Lempertz one seems to have slightly less quality of painting.As it comes from a Spanish private collection, and the Cleve one is kept in Spain, one can wonder whether the one for sale at Lempertz isn't a Spanish copy instead of a German one. Assuming it is old, it should still be worth a lot of money.

A horizontal version, with only minor variations but in the same style, is shown at BBC Your Paintings, from the Wellcome Library Collection, by "unknown artist". Rather amazing that with all these very high quality copies, we still don't know who painted these!

Get rich with Flemish paintings; or not, if it is a copy after an engraving after Rubens...

Get rich reselling old art, or at least try to make a decent living from it: buy a painting in Spain for (hammer price) 2,250 Euro, and try to sell it at Lempertz in Germany for an estimated 28,000 to 32,000 Euro! It's in general a very nice auction (as usual at Lempertz) which warrants some further blog posts, but this painting, while bought under value, seems to be somewhat overestimated now.

Or seriously overestimated even, as it is a copy after an engraving of a work by Rubens, not an original composition by an unknown master. While skillfully painted and worth perhaps 5,000 Euro, I don't see why anyone would pay 30,000 Euro for an anonymous copy after an engraving after Rubens... The above is from the version in the National Gallery, a completed painting (part of a triptych) can be found in Mechelen.

School of Gerard David, Coronation of the Virgin

At Van Ham in Cologne, they sell on 15 May 2015 a Netherlandish Master, about 1460/1470, Coronation of the Virgin, estimated at 25,000 to 28,000 Euro.

It is a good example of a subject that gets a few other similar renditions in the same period. More common is the simpler version where Mary is coronated by two angels, not by God and Jesus like here.

The example for sale has some clear characteristics of the work of Gerard David, but probably isn't good enough to be by him. It may be a copy after a (to me) unknown work by David, or a new composition by someone from his school or environment.

The most striking similarity is the Christ figur on the right. It can easily be compared with the Christ from Gerard David's "Resurrection" (right wing of a diptych) from the Met Museum. (A similar figure can also be seen in the work of Juan de Flandes, but the David seems more closely related)

But also the God figure resembles works by David, like the above from the Louvre. The crown is nearly identical.

I would date the panel for sale slightly later than 1470, perhaps 1490-1500. Similar works like the anonymous panel from the Louvre shown here are also dated at around 1500. 1470 seems way too early when compared to the work by David. The estimation seems to be reasonable, perhaps a bit high; it is a very interesting work, but not top quality and probably slightly later than indicated.

Copy after Teniers

At Lempertz, 16 May 2015, they sell a "Flemish Master, late 17th century" Temptation of St. Anthony, estimated at 5,000 to 6,000 Euro.

No indication is given of the fact that the original hangs in the Louvre, and is by David Teniers II. It obviously is the same composition, but the Louvre one is more finished and detailed, even though it is at 22 by 16cm a bit smaller than the one for sale, which measures 36 by 27,5 cm. It is a good copy, and may be by the Teniers Studio (it certainly is vastly superior to the dozens of Teniers style paintings for sale every month), but it is strange to see no indication of its source at the auction. UPDATE: sold for 10,540 Euro, twice the estimate.

Serangeli, Sleeping Venus

At Sigalas, a German auctionhouse, they sell as lot 345 an "Italian school, early 19th century" "Lying Venus and Amor", estimated at 2,500 Euro.

It is a copy of or variation on the "Sleeping Venus" by Giacchino Giuseppe Serangeli, a French-Italian painter of the early 19th century. Looking at the difference in style, with the one for sale much more linear and less pictorial, it probably is a copy, but it is a good one and worth further attention. Estimate seems correct for what it is.

Esaias van de Velde meets Rembrandt

I've stared for a long time at this painting, and searched for an artist or example, and I can't find it. It is very, very good, but I just can't pinpoint it.

For sale at Golding Young in Lincoln, 22 April 2015, it is estimated at £800 to 1,200 only. Described as "18th century Dutch School, figures at a table", it measures 36 by 55 cm.

I see no reason to date it to the 18th century, everything about it says 1630 or thereabouts. The style is a mixture of Rembrandt and Jan Van Goyen, and the subject is closer to Esaias Van de Velde. But I haven't found any example of a painting which is comparable in the combination of subject and style. Teniers has made paintings which have outdoor tavern scenes and a similar style and colour, but they are Flemish peasant scenes, not Dutch gallantry.

Jan Van Goyen has a similar style of trees and airs, and the right period. But I can't find any work with a similar subject.

Esaias Van de Velde has comparable garden parties, with pieces of pottery or metalwork in the front (something other artists did as well); but the painting lacks the nervousness (which together with the colouring made me say Rembrandt, even though it isn't by him).

But no matter by whoever it is, it should be worth a lot more than the estimate. UPDATE: not sold!

Francken II, King Midas

At Goya, they sell on 27 April 2015 a "Flemish School, 16th century" "Royal banquet", estimated at 18,000 to 20,000 Euro.

It is a work by Frans Francken II (for once, not a copy after but apparently the real deal), depicting the "Meal of King Midas" where he realizes that everything he touches, even his food, turns to gold.

The last one I could find was a Francken I sold at auction at Christie's in 1999, making £23,000. It has about the same dimensions as the one  for sale now, but is quite different and perhaps better (it lacks the somewhat garish colours of most Francken II paintings, perhaps due to discoloured varnish, but looks to be somewhat better anatomically).

The one for sale now seems to be the same that is listed in the RKD, and which was last noted in 1989 in Galerie Dejonckheere. No idea what price it fetched back then. It is listed there as Frans Francken II, without any reservations. If it had had the right attribution and provenance, it should have made 25,000 Euro or more. With no provenance, vague attribution, and wrong date and subject given, it might struggle of course. It was for sale at Goya already in 2013, then estimated 35,000 to 40,000 Euro, with the same description. It obviously failed to sell then.

Copy of Rubens

 At Shannon's, lot 87 of the sale of 23 April, is described as a "Flemish School", possibly early 17th century, estimated at $2,000 to $3,000.

It is a slightly reduced copy of a (relatively weak) Rubens depiction of the "Supper at Emmaus". Estimate seems about right, perhaps a tad high, for a decent old copy. UPDATE: wow, sold for $10,200! Either someone recognised the copiist, or someone thought they bought an original, not a copy.

Not Vermeer

Senlis auctions sells on 24 May 2015 a "portrait of a young woman" "After Vermeer", estimated at 500 to 800 Euro. Strange, because I'm not aware of and can't find any Vermeer painting resembling this one. It is a typical Dutch, circa 1650 portrait, but that doesn't make it "after Vermeer" or "After Rembrandt" of course.

It is much closer to (but not by) Ferdinand Bol, something like his portrait of Maria Rey from the Rijksmuseum. Similar dress style, composition, even the much too heavy eyelids are similar. Of course, there were quite a few Dutch painters busy doing this kind of thing at that time, so it's not possible for me to put an artist on it. But not Vermeer, and not after Vermeer either. Seems like a cheap method to get more traffic to your auction. Still, the painting should easily sell at that estimate.

UPDATE: not sold, again for sale (same auction house, description and estimate) on 15 November 2015.

Robert Landeryou

Bukowski's sell on 21 April an Unknown Artist, signed Marine from 1898, estimated at 320 Euro and with a current high bid of 100 Euro. UPDATE: sold for 406 Euro, still cheap.

I guess they had trouble reading the signature, but it is a painting by Robert Landeryou, an obscure British painter born in 1836, date of death unknown but apparently after 1898, we may decide now. The only two other paintings by him I could find were also marines, one sold for $1,700 in 1999 and one for $4,250 in 2012. The latter one, pictured above, was larger and in better condition though. But if you like these kind of marines, or for some reason are interested in Landeryou, then this is your chance to get one cheap!

Second and third bid placed!

I've again taken the plunge and placed two bids at auction. I'll give all the information once the auctions are over, one is a strangely misidentified work (which probably many other bidders have noticed, so my chances of winning are small), and one is a hard-to-discover minor gem (at least, I hope it is hard to discover, that improves my chances).

Saint Helena and the True Cross

At Shannon's, auction house in Connecticut, they sell on 23 April a "German School, possibly 16th century" "Untitled" work, estimated at $5,000 to $7,000. UPDATE: sold for $15,600!

The interesting though damaged work seems to be a "Saint Helena searching the True Cross", a part of the story of Saint Helena who allegedly found the cross of Jesus' crucifixion. This episode isn't shown that often, the actual finding of the cross is much more common.

One well-known depiction of the same event is the miniature by Jan van Eyck from the Tres Belles Heures de Notre-Dame. But the one for sale now is very different otherwise and it is unlikely that the van Eyck has been an influence here. I haven't really found any comparable works, so I can't comment further on the attribution. It's too bad about the damage, or it would be a very interesting picture and probably worth a lot more.

Giotto's Flight to Egypt

At Shannon's, in Milford, they sell on 23 April 2015 an "Italian School, possibly 14th or 15th century" "Flight into Egypt", estimated at $6,000 to 8,000. I'm not certain whether this is a major find, or just what the description says, or (in my opinion most likely) a much later forgery / pastiche.

UPDATE: sold for a whopping $144,000!

The Madonna and Child are clearly modelled on Giotto's "Madonna Enthroned", but lack his refinement.

The mantle of Joseph comes, almost literally, from a different Giotto, the Kiss of Judas (detail reversed to make the comparison easier). The curve of the back, the collar, the shadows, nearly everything is identical. But with the lower arm of the Joseph in the one for sale, the folds should have been different, an error I believe Giotto would never make.

Other aspects, like the donkey, can be found in the work of Giotto but also in that of other early Italian painters like Guido da Siena, so it isn't really an indication of anything good or bad. Similarly, the way mountains and trees are painted is correct for the time, without there being an obvious direct source like for the Joseph above. The head of Joseph reminds me of the work of Lorenzo Monaco, but again without being a direct copy. The lack of gold in the background is a bit strange, but perhaps there is a good explanation for this (apart from "too expensive for the forger" that is).

So, summarizing, it's not a Giotto as it isn't good enough for him (too bad, that would really be a major major find), and calling it "Studio of Giotto" seems a stretch as well. Basically, the choice is between "Follower of Giotto" (worth ten times the current estimate), or "In the style of Giotto" (meaning probably 19th century or later), worth whatever you believe it is worth, certainly not more than the estimate though. I don't really dare to make a judgment based on the pictures, but it will be interesting to see whether this turns up at a Sotheby's or Christie's Old Master sale next!