"Late 16th c. Adoration" is copy after Raphaël

Carlo Bonte, from Belgium, sells on 11 December 2018 a "Posibly French late 16th century" Adoration of the Shepherds, estimated at 1,000 to 1,500 Euro.

At first I thought it maight be the work of Jost de Laval, a probably Flemish painter who worked a long time, until his death in 1578, in Lübeck, but in the 1550s worked in Bruges (where the auction is). Certainly that second one (found through RKD) has many of the same elements (from the depiction of God over the use of a wooden, derelict construction inside a ruinous old temple, to the arrival of the shepherd with a reluctant dog, left in the work for sale and right in the RKD one), and a similar awkward style.

But a much closer match was another work I found at RKD, a "Follower of Lambert Lombard" from the Lindenau Museum in Altenburg, and from a similar date as the Laval ones (which would date this work somewhat earlier than the auction house thinks). The works clearly share the same origin, even though the background on the right is totally different.

It turns out that both works are copies after Raphael, through an engraving published by Hieronymus Cock in 1563 (found at the Rijksmuseum). The work for sale is a much more faithful reproduction of the engraving than the Lombard version.

The work probably is only worth the estimate, but it is a good enough old Flemish copy of a Raphael to be interesting.

"Late 17th century" is copy after lost Carracci

Carlo Bonte, from Belgium, sells on 11 December 2018 a "Late 17th century" portrait of Christ, estimated at 1,500 to 2,500 Euro.

It is a fairly good copy after Annibale Carracci, his now lost (presumably destroyed in WWII) head of Christ from the Dresden Museum. It probably isn't worth much more than the estimate, but copies after lost works are always interesting, and linking such an anonymous work with obvious quality to a known work is what this blog often is about, so... The work for sale has the same dimensions as the original, and probably the same colours, but it is less convincing (which may be improved by cleaning it), and painted on canvas instead of on copper, as the original was.

"Ca. 1900 Flemish work" is original by or good copy after Josef Janssens

Carlo Bonte, from Belgium, sells on 11 December 2018 a "Late 19th - Early 20th century, in the manner of the Flemish Primitives" Golgotha, a large work (108 by 137 cm) estimated at 600 to 1,000 Euro.

The work is a version of the Crucifixion by Josef Janssens de Varebeke (1854-1930), a religious painter working in a Neogothical style. He painted many portraits, but probably his most famous work is his "Our Lady of Sorrows" cycle in the Antwerp Cathedral. This series of seven works includes the original Crucixifion by Janssens.

The work for sale has more subdued colours, and harsher lines, making it look more modern, a move away from the Flemish Primitives and more pointing towards Flemish Expressionism. The removal of the halo's also gives it a less traditional, religious effect, and more a general image of mourning and loss.

It's hard to tell if this is a later version by Janssens, or a copy by a good artist. The estimate seems too low in either case, a copy of this quality should be worth 2,000 Euro, and an original by Janssens of his major work is probably closer to 10,000 Euro.

"17th century Flemish School" is Italian, after Carracci

Minerva, from Italy, sells on 27 November a "Flemish School, 17th century" Deposition of Christ, a small oil on copper (24 by 34 cm) estimated at 1,500 to 2,500 Euro.

The work looks much more Italian than Flemish, e.g. the much cooler colours (which is in a way remarkable, one would associate Northern countries with cooler, more subdued and greyish colours, and the more Southern countries with more flamboyant, lively colours: but at least in the 17th century, the opposite is often true) or the way shadows are painted.

And sure enough, this Lamentation (more so than a Desposition) turns out to be a copy after an 1598 engraving by Annibale Carracci (engraved by his brother Agostino).

The painting isn't completely identical, especially the head of Saint John is situated lower, while the head of the woman (another Mary probably) supporting the Virgin is somewhat further away than in the engraving: so it may be based on another version of the original, and not on this engraving. but in any case it isn't an original, it is a good copy but some elements (e.g. the hand of the Virgin) is just not good enough by far to be by Carracci. Many other elements, like the folds in the clothing or the texture of skins, isn't good enough either. Of course, the painting is small, making it harder to get these things right probably.

Nevertheless, this is a good painting, probably 17th century, and should fetch the estimate without much problems. But for collectors of Flemish paintings it has little or no interest.

Protector of birds

Leland Little, from the United States, sells on 1 December 2018 a "17th century Flemish" still life with cat, estimated at $1,000 to $3,000.

It is a rather dark work, which seems partially intentional and partially due to age and dirt. The exact quality is therefor hard to judge, but it seems to be a work in the vein of some well-known artists, but probably not good enough to be by them. Still, it should easily fetch the estimate as it is a good, intriguing work with the cat lurking in the back looking directly at the viewer.

While there are many, many Flemish still lifes with cats (e.g. the works of Clara Peeters), this version is close to the work of some very specific painters: Carstian Luyckx, Alexander Adriaenssen, and David de Coninck. But none have the full frontal, very dark look of this one.

UPDATE: sold for $1,700.

Female painters still underrated it seems: Louise de Hem

Legros, from Belgium, sells on 29 November 2018 a "Louise de Hem" still life, estimated at 200 to 250 Euro.

This is a ridiculously low price, compared to what her work already sold for, and the significantly increased attention (and corresponding market) for good pre-20th century women artists. And she is universally acknowledged as one of the very good ones: in the 2002 book by Spanish Jordi Vigue, "Great Women Masters of Art", she gets her own 4 page entry right between similar entries for Suzanne Valadon and Käthe Kollwitz!

Louise de Hem (1866-1922) was a painter from Ieper (Ypres). Her brother-in-law was a painter, and encouraged her to go for a similar career. Due to the severe restrictions against women artists in Belgium at the time (e;g. no nude painting, no access to academies), she moved to Paris, where she soon exhibited at the salons, with considerable success. She specialized in two areas: artisticratic, luxurious portraits, in the style of her teacher Alfred Stevens, and still lifes harking back to 17th century examples of Heda and the like, but somewhat more monochrome.

The success of her art allowed  her to build a large Art Nouveau house with workshop in Vorst (or Forest, part of Brussels) in 1902-1905. In 1911 she was even knighted.

Some of her works from the Ieper Museum can be seen on the Cultured wiki.

Her 1890 self portrait shows a confident woman, in a work which has influences of Symbolism and especially from photography, it seems.

Her 1892 "Peasant Girl" from the Ieper Museum is a forerunner of the Belgian Luminism of Emile Claus, and a beautiful work in its own right.

Later portraits are more stylized and commercial, but still show great technical skill and are very alluring. For her 1904 work "The Japanese Doll" she got a Golden Medal at the Salon.

She was also a master of the pastel technique, as seen in this 1901 "Gitane" and 1902 "The Black Cat".

Her portraits rarely come on the market, her still lifes are slightly more common, but even so Artvalue only lists 5 sales this century. Much of her work is in the Museum of Ieper: it was largely destroyed during the first World War (which also meant the end of the active career of De Hem), and in 1927 45 of her works were donated to the museum by her sister Hélène.

A similar (though more cleanly finished) work was sold at Christie's in 2013 for £3,250.

Another, considerably larger still life was sold at Horta (Belgium) in 2012 for 2,600 Euro.

Her portraits, when they do come on the market, fetch even higher prices: one large pastel sold in 2008 for 5,200 Euro, and a "Retour de Bal" sold in 2016 for 10,500 Euro at Bernaerts.

The one for sale here should be worth at least 1,500 Euro, and considering the increased market for women artists it will get harder and harder to buy a good work by her for such a price.

UPDATE: sold for 750 Euro.

"17th century Flemish School" goes back to a Rogier Van der Weyden composition

Mercier, from France, sells on 25 November 2018 a "Flemish School, 17th century" "Christ with the stigmata and saint", estimated at 1,500 to 3,000 Euro.

First off, it is a trinity, with God (not a saint) holding Jesus while the Holy Ghost flies above them. God is often represented with a papal tiara.

The work is probably 16th, not 17th century, and goes back to a composition by Rogier Van der Weyden. One version is kept in the Museum M in Leuven, Belgium (said to be by Van der Weyden, but seems like a good copy to me instead).

But it is unlikely that the version for sale is based directly on this one, which is known through other copies as well. For example the above one, listed at the RKD, is attributed to Marcel Koffermans. It stays closer to the original. In the version for sale, the way God holds Jesus has been changed (not improved though), and his head is turned.

As a 16th century reinterpretation of a Van der Weyden composition (there is also a similar composition claimed to be by Robert Campin), it should fetch the estimate quite easily.

"Flemish School" is copy after Hans Memling (or the Master of the Embroidered Foliage)

Galerie Moderne, from Belgium, sells on 11 December 2018 a "Flemish School" oil on panel estimated at 1,000 to 1,500 Euro.

It's a good copy after Hans Memling, the "Virgin and Child" from Burgos, but with a different background (which points to a slightly later date than the original, 1510-1520 probably). That work has also been attributed to the Master of the Embroidered Foliage though, and is then in turn more loosely based on Memling examples.

The work for sale is nice (dirty and somewhat damaged). The label on the reverse seems to indicate that the work was in Spain in the late 1930s (either this, or it has been added much later to legitimize a fake). I haven't found an online database to cross-check the label to the actual records of what the Spanish  government seized or stored in these years, it might help to get much more information on this work.

If the work isn't a 19th century (or later) pastiche / fake, then the estimate is clearly to low and it should fetch 8,000 to 10,000 Euro as a good, early follower of Memling.

UPDATE: sold for 3,900 Euro, way above estimate but still only half of mine...

Alexander Wiskemann or Dirck De Quade Van Ravesteyn

Bonham's, from England, sells on 5 December 2018 an "Attributed to Alexander Wiskemann" Venus and Amor, estimated at 21,000 to 29,000 Euro.

They give an extensive provenance, including a sale at Im Kinsky in 2010. It was offered there with an estimate of 20,000 to 30,000 Euro, and failed to sell in the regular auction (it may have sold during the aftersale).

It seems to have been offered at Teeuwisse in 2011 as well.

A different or uncleaned version of this painting was sold at Neumeister in 2008, with an estimate of 30,000 Euro. It was attributed to Dirck de Quade van Ravesteyn.

I

understand the attribution to Ravesteyn better than the one to Wiskemann, as the Venus here shares similarities with Venuses (Veni?) in other works by the artist. But these Ravesteyns show a more accomplished artist, so at best it would be a "circle of" or "follower of" him.

Alexander Wiskemann on the other hand is a nearly unknown painter, and I have not found any comparable paintings. So I have not the faintest idea why the attribution to Wiskemann is given, it doesn't seem to be based on a signature either. Strange!

UPDATE: the composition is close to a 1610 work by Mattäus Gundelach, sold at Dorotheum in 2011 with an estimate of 60,000 Euro. I don't think the artist of that work and the one for sale are the same though, but I wouldn't be surprised if one artist lies at the basis of both.

UPDATE 2: not sold

Simon Marmion, Anonymous, or Master of the Gold Brocade?

Hermitage, from Monaco, sells on 24 November 2018 a "Flemish School, 16th century" Maria lactans, estimated at 30,000 to 40,000 Euro.

The same painting was for sale on 12 April 2018 at Hampel, in Germany, as the work of Simon Marmion, estimated at 50,000 to 70,000 Euro.

 Version from the Metropolitan Museum

It is most likely the work of the Master of the Gold Brocade; the three other versions of the same work are all attributed to him (or her) by the RKD, and I see little reason to doubt their judgment or to believe that this one is  suddenly the work of Marmion. The original composition of the Virgin and Child is the work of Rogier Van der Weyden.

This version is also listed at the RKD, where they know it from a collection in 1937, and from being listed by the French Government as a recuperated work from (Récuperation Française, M.N.R. 853). Such M.N.R. numbers often point to looted art, but without further provenance it is hard to be certain if this work had been given back to the original owners and has reached the art market from there, or if this work may still be the rightful and moral poperty of the family of Nazi victims.

UPDATE: most of the same info was already posted at the AuctionRadar blog at the time of the Hampel auction!

UPDATE 2: and now again for sale at Hampel (28 March 2019), still as Marmion, and still with a 30,000 to 50,000 Euro estimate.

"Attributed to Van der Weyden": can this be a youth work by Bouts?

Deutsch, from Austria, sells on 4 December 2018 an "Attributed to Rogier Van der Weyden" Virgin and Child, an oil on panel estimated at 2,800 to 5,500 Euro. The combination of "attributed to Van der Weyden" and a 2,800 Euro estimate makes me believe that one or the other is wrong...

The composition is by Van der Weyden, as can be seen in this workshop version in the Art Institute of Chicago. The one for sale is, apart from the background, an extremely close copy of the Chicago one. Only the face of the virgin is less well executed, and the condition of the work (while still remarkably well preserved for a 500 years old painting) is somewhat lacking, although a removal of the yellowed varnish may solve most of this.

I can't find any examples of Van der Weyden himself using such a background in a Virgin and Child. A similar window and landscape is used by a Follower of van der Weyden in the Saint Louis Art Museum.

Even more remarkable are the similarities with a Dirk Bouts Virgin and Child in the National Gallery.Not only does the window have the same general appearance as the other two examples, the crisscrossed windows at the top seem to have the exact same pattern of coloured elements round the border.

Which leaves me rather puzzled. Is this an early Dirk Bouts, who is supposed to have been a pupil of Van der Weyden? A version from the workshop of Van Der Weyden executed by Bouts, who later in his own work reused elements he invented then, like the window? The work isn't good enough to be a mature Bouts (or a Van der Weyden), but it is close enough in quality to be a work of Bouts as an apprentice, a pupil.

Or is it a work by someone who copied a Van der Weyden composition but added a Bouts window to it? That seems strange, certainly if it is contemporary (late 19th and 20th century forgers are more known to combine elements to create "new" works or new copies). Of course, it may also be a copy after a lost (or to me unknown) Van der Weyden or Bouts.

I would love it to be by Bouts, but I know that I sometimes get carried away when I am duped by a good fake. It certainly seems to be worth the gamble at the very low estimate. If it turns out to be the best-case scenario, the value is immense. If it is a good follower of Van der Weyden and Bouts, from around 1500, then it still is worth 25,000 Euro (well, the value depends also on what the cleaning would reveal, if the painting is even better below the yellowing, it only gets more valuable).