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ART “4” “2”-DAY 11 December

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DEATH: 1513 PINTURICCHIO

BIRTH: 1599 CODDE

2002 OLD MASTERS AT AUCTION

^ Died on 11 December 1513: Bernardino Betti (or Betto) di Biagi Pinturicchio Sordicchio, Italian painter of decorative frescoes, born in 1454.
— Pinturicchio was born in Perugia. It is likely that he served as an assistant to Italian painter Perugino, and worked on the frescoes in the Sistine Chapel at Rome. He then painted frescoes in Santa Maria in Aracoeli in Rome illustrating the life of Saint Bernardino of Siena about 1485. From 1492 to 1494, after executing two works in the cathedral at Orvieto, he painted six frescoes in the Borgia apartments (now the library) of the Vatican. From 1502 to 1507 he painted his last and most important works — the ten frescoes in the Piccolomini Library of the Cathedral of Siena. They depict the Life of Aeneas Silvius Piccolomini (who was elected Pope Pius II on 19 Aug 1458) [18 Oct 1405 – 14 Aug 1464], in brilliant color and realistic detail. Among Pinturicchio's few surviving easel paintings are the Madonna in Glory (1510) and Christ Carrying the Cross (1513).
— Pinturicchio's assistants included Amico Aspertini, Tiberio d’Assisi, Eusebio da San Giorgio, Pietro Torrigiani.
— LINKS
— The Return of Odysseus (1509, 124x146cm) _ The painting represents a scene from the Odyssey in an early Renaissance setting. It is severely damaged.
— Portrait of a Boy (1483, 50x36cm) _ The sitter was formerly assumed to be the young Raphael.
— Burial of Saint Bernardino of Siena (fresco)

^ Born on 11 December 1599: Pieter-Jacobs Codde (or Kodde, Codden), Dutch artist who died on 12 October 1678. He was a genre painter of small but spirited drinking scenes and conversation pieces.
— Genre and portrait painter of the fashionable world and barrack-room life, active in Amsterdam. His best works are usually on a small scale, marked by subtle silvery-gray tonalities, but he achieved one memorable feat on a much larger scale. In 1637 he was called upon to finish the group portrait of the Amsterdam Civic Guards known as The Meagre Company that Frans Hals began in 1633 and refused to finish because he would not come to Amsterdam for sittings, and Codde succeeded so well in capturing Hals's spirit and the touch of his brush that experts still disagree where the work of the one ends and the other begins. Codde also wrote poetry.
— Frans Hals was once thought to have been his teacher, but there is no evidence for this. It is possible that Codde studied under a portrait painter, perhaps Barent van Someren [1573–1632] or Cornelis van der Voort [1576–1624], since most of his earliest works, from the period 1623–1627, seem to be portraits. His earliest known dated work is A Young Man (1626), which precedes by a year his earliest dated genre piece, The Dancing Lesson (1627). He was particularly productive in the 1620s and 1630s, painting mainly interior genre scenes. After the mid-1640s only portraits and a few history paintings, such as The Adoration by the Shepherds (1645), are known. It is not known how long he remained active as a painter.
— Willem Duyster was a student of Codde.
— LINKS
— Cavaliers and Ladies
— The Family Twent in an Interior (1633, 48x76cm; 630x1000pix, 58kb _ ZOOM to 905x1810pix, 114kb)
— The Repentance of Manasseh (1655, 92x152cm; 616x1024pix, 55kb) _ Formerly attributed to Pieter Lastman, this is in fact one of a relatively small number of history paintings by the Codde. Other examples include a Sacrifice of Iphiginea (with Bob Haboldt) and two paintings of The Judgement of Midas. It is possible that the landscape in these works is by a second, as yet unidentified hand. The subject is taken from 2 Chronicles 33:11-16, which relates how Manasseh, King of Judah, as a prisoner of the Assyrians, repented of his having led his kingdom into idolatry and, after his release, 'took away the strange gods, and the idol out of the house of the LORD ... and in Jerusalem, and cast them out of the city. And he repaired the altar of the LORD ... and commanded Judah to serve the LORD God of Israel.' (estimated at £50'000 for auction on Codde's 403rd birthday).
— Young Man with a Pipe = Young Scholar in his Study (1630; 800x530pix, 103kb) _ Pieter Codde painted portraits, history paintings, and high-life scenes as well as military subjects. His small picture of a Young Scholar in his Study, painted in shades of silvery grey and ochres, is a kind of secularization of Dürer's Melancholia. It is more appealing than his more ambitious genre compositions, where he gives way to his preference for rather coarse and plump types, over-glossy textures, and exaggerated highlights. The rooms Codde represents are always of less interest to him than the people he placed in them, and although he lived long enough to see the accomplishments of the great Dutch painters of interiors — he died in 1678, three years after Vermeer — he never attempted to emulate their achievements.
But he made at least one attempt to make a radical shift in his style. In the half of Frans Hals's Company of Captain Reinier Reael (The Meagre Company) (1637; 207x427cm) he completed he made a concerted effort to emulate Hals's touch. Art historian and restorer Jan van Dijk found this militia portrait by Frans Hals and Pieter Codde so 'barren and frail', in 1758, 'that they might rightfully be called the meagre company'. Since then this militia portrait has been known by that name instead of the exact title: Officers of the Company of the Amsterdam Crossbow Civic Guard under Captain Reynier Reael and Lieutenant Cornelis Michielsz Blaeuw. Frans Hals was commissioned to paint the portrait of Captain Reynier Reael and Lieutenant Cornelis Michielsz Blaeuw of the Amsterdam crossbowmen's guild together with their militiamen. He was to paint the piece in Amsterdam, where the members of the company lived. For Hals, who lived in Haarlem, this involved regular trips to the capital. In fact he was rarely to make the journey at all. In 1636, three years after receiving the commission, he had still only completed part of the painting. Eventually the militiamen took him to the task. In reply he responded, as the preserved documents state, that it had been agreed he would begin the portraits in Amsterdam and complete them in Haarlem. The representatives of the guild, however, claimed that they had even offered six guilders extra per portrait on the condition that Hals travel to Amsterdam to paint the men's bodies as well as their faces. Hals was to receive 66 guilders per person upon completion of the painting, a total of 1056 guilders for the whole work. Despite the high rate, Hals could no longer be persuaded to make the journey to Amsterdam. He suggested that the unfinished work be brought to Haarlem, where he would complete the sitters' attire. Then he proposed to finish painting the faces, assuming that the militiamen did not object to traveling to Haarlem. By now the dispute had become so heated that the guild decided to ask another artist to complete the painting. The task fell to Pieter Codde, a strange choice since Codde's paintings were usually small and meticulous. Codde lived in Amsterdam, though, and may even have been a member of the militia company. Frans Hals painted the general outlines of the composition and completed some of the faces and hands, but only the ensign on the left, with the shiny satin jacket, is entirely by his hand. Pieter Codde painted the costumes and the portraits which Hals failed to complete.
— The Dancing Lesson (1627; 581x750pix, 109kb)
— Portrait of a Child (53x40cm; 850x639pix, 66kb)
— Dancing Party (1633) — Merry Company (1631) — Musical Company (1639, 500x800pix, 70kb)

Died on a 11 December:

^ 1942 Séraphine Louis “de Senlis”, French painter born on 02 September 1864. She worked as a housekeeper in Senlis for the collector and dealer Wilhelm Uhde, who on discovering in 1912 that she produced vigorous paintings began buying them from her. As a German citizen he was obliged to leave France during World War I, but on his return he purchased her entire production. Motivated by what Uhde referred to as a ‘sacred ardor’, she painted for the Virgin in the middle of the night while singing hymns. Her piety developed into fanaticism, however, and when Uhde suddenly stopped buying her work in about 1930 because of the economic crisis, she developed a strong persecution complex and had to be committed to a psychiatric hospital. After 1934 Uhde regarded her as dead, as her insanity prevented her from painting. — Après avoir été gardienne de moutons, Séraphine Louis devient femme de ménage à Senlis (Oise), où le hasard la met en présence du critique d'art, promoteur des peintres naïfs, W. Uhde, chez qui elle travaille. Celui-ci, après avoir vu ses œuvres, l'encourage à persévérer. Pour cette femme qui n'a jamais appris à peindre, les seules sources d'inspiration sont les vitraux de la cathédrale. Vivant dans un isolement quasi total, elle travaille à la lumière d'une bougie, devant une image de la Vierge. Répétant tous les mêmes motifs décoratifs, les tableaux de Séraphine de Senlis ne sont qu'arabesques, feuilles-plumes, fleurs, fruits paradisiaques, ornés de cils, buissons ardents. Motifs et couleurs intenses traduisent les rêves et les extases de leur auteur, qui perd la raison en 1930 et meurt douze ans plus tard dans un asile d'aliénés. — L'Eden (350x236pix, 33kb)

^ 1738 Johann-Rudolf Byss, Swiss painter, active in Prague and Franconia, born on 11 May 1660. He was taught by his father, Johann Joseph Byss, in Solothurn. In the 1680s he made a study trip to Germany, England, and the Netherlands. From 1689 he was employed by Count Hermann Jakob Cernín [–1710] in Prague as court painter and administrator of the Count’s picture gallery, and that year he also married Maximiliana Wagner, the daughter of one of the Emperor’s clerks. Byss introduced to Prague many of the stylistic tendencies of Netherlandish and Italian classicism: for example in his altar painting of 1691, John of God. A Netherlandish orientation is again seen in the easel painting Vestal Claudia Quinta (1692). In 1692 Byss became a citizen of Prague, and in 1694 he was admitted to the painters’ guild, where he subsequently became a master. His versatility and speed soon brought him a number of commissions. In easel paintings he treated historical themes, and he painted landscapes inspired by the work of the Dutch followers of Nicolaes Berchem. He also painted notable still-lifes, at first following the example of the game-pieces by Jan Baptist Weenix and Willem Gouw Ferguson, for example Shot Partridge (1693; sold Amsterdam, Christie’s, 1985). The Bust of a Child Wreathed with Flowers (1695) reveals a more original approach to still-life, as well as a liking for elaborate detail and paler colors. A companion piece for this work was painted in 1703 by Johann Adalbert Angermeyer [1674–1740], a student of Byss and the first Prague still-life specialist.

^ 1737 Nicolas Vleughels (or Wleughels), French painter, administrator and teacher of Flemish origin, born on 06 December 1668. He was trained by his father Philippe Vleughels [1620–1694], a Flemish painter who had moved to Paris in 1642; he was also a student of Pierre Mignard I. In 1694 he came second in the Prix de Rome competition with Lot and his Daughters Leaving Sodom; despite repeated attempts, he failed to win the first prize. He became a close friend of Watteau and was, like him, greatly influenced by Flemish painting, notably that of Rubens. In 1704 Vleughels went to Italy at his own expense. From his base in Rome he made trips to Venice [1707–1709] and Modena [1712–1714] and was much influenced by the work of the Venetian colorists, particularly Veronese, whose works he copied. In 1716, back in Paris, he was approved (agréé) by the Académie Royale and in the same year was received (reçu) on presentation of Apelles Painting Campaspe as his morceau de réception. The influence of Veronese can be seen in the preparatory studies in oil and pastel for his paintings of this period, such as the Studies of a Woman’s Legs for the figure of Campaspe. His close relationship to Watteau’s fêtes galantes can be seen in the Abduction of Helen (1716) — Etienne Jeaurat and Jean-Baptiste Pierre were students of Vleughels.

Born on a 11 December:

1904 Felix Nussbaum, German artist who died in 1944.

1890 Pierre de Belay, French artist who died in 1947.

1876 Ricardo Canals y Llambi, Spanish artist who died in 1931.

1856 Frank Pieters, British artist who died in 1932.

1852 Alfred Zoff, Austrian artist who died on 12 August 1927.

1845 Roger Joseph Jourdain, French painter who died on 19 August 1918.

1841 Antonio Matteo Montemezzo, German artist who died on 11 September 1898.

^ 1668 Domenico Maria Viani, Italian painter who died on 01 October 1711, son of Giovanni Maria Viani [11 Sep 1636 – 1700]. He was trained by his father and in 1691 he made a visit to Venice, which, though lasting less than a year, was of enduring importance. Viani was profoundly influenced by the great masters of the 16th century, notably Tintoretto and Veronese, and by his contemporaries, especially the tenebrosi Antonio Zanchi and Antonio Molinari. During the 1690s Viani worked principally for the Servite Fathers, first in Bologna, where he frescoed one of the lunettes in the portico of their church on the Strada Maggiore, and later at Imola, where he made a number of paintings. In about 1700 he painted a large altarpiece of The Miracle of Saint Anthony of Padua for the church of San Spirito at Bergamo, shortly after which he returned to Bologna. His main work there was Christ at the Pool of Bethsaida (1705). This imposing picture shows well the muscularity and turbulent movement of Viani’s forms, combining the academic Bolognese tradition of the Carracci and Guercino with the expressive color of the Venetians. Viani also undertook secular commissions, including a Jupiter and Ceres for the Marchese Ratta, of which a copy was made for Cardinal d’Adda. In 1705 he developed a malignant illness, probably tuberculosis, which prevented him from working. His last painting, Saint Pellegrino Laziosi, was completed by his student Pier Francesco Cavazza [1677–1733].

Happened on a 11 December:

^ 11 December 2002: Old masters auctioned at Christie's in London.
— At auction are more than 110 old master paintings and manuscript illuminations from the Bernard H. Breslauer collection. Among the highlights are two genre paintings from the Dutch Golden Age: a rare early domestic interior by Nicolaes Maes and a tavern scene by Adriaen van Ostade.
Italian painting is represented from the 16th to the 18th centuries with a masterful allegorical depiction of Faith by Vasari; an important study for a lost Royal commission by Solimena; and a remarkable Venetian view by Francesco Guardi.
Also in the sale are a pair of angels by Zurbarán and a rediscovered group portrait by Thomas de Keyser. Links to a few pictures and commentary:
— A pair by Francisco de Zurbarán [07 Nov 1598 – 27 Aug 1664]: An angel leaning forward in devotion: and An angel looking out with upturned palms (100x71cm) (estimate £700'000)

— The Wedding Dance (41x54cm) [< thumbnail] by Pieter Brueghel II [1564-1638] (estimate £500'000)
— by Pieter Brueghel II: The Misanthrope (circular 19 cm diameter) (estimate £70'000)
— by Gillis van Tilborch [1614-1684 or 1625-1678]: Elegant company at a table on a terrace (61x49cm)
— The Five Senses: three men smoking, drinking and making music (88x126cm) from the circle of Jacob van Oost the Elder [Feb 1601 – 1671] (estimate £16'000)
— by Jacob Jordaens [19 May 1593 – 18 Oct 1678]: A youth, holding a dog in check and doffing his hat as he enters a house, accompanied by a young woman (191x89cm) (estimate £85'000 — at Sotheby's, London, on 24 October 1973 it was sold as lot 37 for £4200 to A. Gurney).
— by Thomas Hendrickszoon de Keyser [1596 – 07 Jun 1667] ) Group portrait of three gentlemen, three-quarter-length, seated in black costumes with lace collars and cuffs (105x99cm) (estimate £125'000)
— The Triumph of King Charles of Naples at the Siege of Gaeta (144x120cm) by Francesco Solimena [04 Oct 1657 – 05 Apr 1747] (estimate £250'000)
— An Allegory of Faith (76x172cm) by Giorgio Vasari [30 Jul 1511 – 27 Jun 1574] (estimate £600'000)
— De Drinker: Three boors drinking and smoking in a spirit house (29x23cm) by Adriaen Janszoon van Ostade [10 Dec 1610 — 1685] (estimate £400'000)
— The Tower of Babel (93x76cm) by Mathys Schoevaerdts [1665-1722] (estimate £50'000)
— A Philosopher, seated, half-length (1645, 114x85cm) by Salomon Koninck [1609-1656] (estimate £40'000)
— An interior with a young girl eating curds from a bowl [3 thumbnails >] by Nicolaes Maes [1634 – 24 Nov 1693] (estimate £300'000)
— Portrait of Rochus van der Does, Raadsheer and Schepen of Utrecht (107x91cm) by Maes (estimate £12'500)
— from the studio of Frans Snyders [1579-1657] Dogs hunting deer in a landscape (estimate £25'000) [image]
— A pair of pair of Wooded River Landscapes by Gillis Claeszoon de Hondecoeter [1575 – Sep 1638] 1. with travelers and a dog on a path, cattle by a ford beyond — 2. with figures on a path (2 images , each 20x26cm) (estimate £35'000)
— An Italianate river landscape with drovers at a ford at dusk (24x31cm) by Nicolaes Pieterszoon Berchem [01 Oct 1620 – 18 Feb 1683] (estimate £70'000)
— An Italianate river landscape with peasants resting on the way to market, a ruined tower beyond (57x65cm) by Johann Heinrich Roos [27 Oct 1631 – 03 Oct 1685] (estimate £25'000)
—The Coronation of the Virgin, illumination from a manuscript [image]
— The Madonna and Child with Souls in Purgatory (207x155cm) by Luca Giordano [1632-1705] (estimate £50'000)
— The Holy Family (40x29cm) from the circle of Raphael (Gianfrancesco Penni?) (estimate £25'000) (it was sold at Christie's on 05 July 1918, lot 81, as Giulio Romano's La Vierge au Berceau for 14 guineas to Miss Rosa Lewis, since which an annual 9.21% appreciation would be needed to make it reach the level of the present estimate, but the pound has lost much of its value)
— The Madonna and Child with the young Saint John the Baptist (tondo, 76 cm diameter) from the workshop of Botticelli [1445 – 17 May 1510] (estimate £70'000)
— The Madonna and Child with the Infant Saint John the Baptist (1514, 119x96cm) by Mariotto Albertinelli [13 Oct 1474 – 05 Nov 1515] (estimate £20'000)
— The Madonna and Child with the Infant Saint John the Baptist (107x79cm) by Michele Tosini “di Ridolfo del Ghirlandaio” [08 May 1503 – 28 Oct 1577] (estimate £20'000)
— The Madonna and Child with Saint Peter (98.5 cm. x 62.6 cm) by Francesco Bissolo [1473 – 20 Apr 1554] (estimate £50'000)
— The Adoration by the Magi (55x69cm) by Battista Dossi [1475-1548] (estimate £85'000)
— The Rest on the Flight into Egypt (50x43cm) by Willem van Mieris [03 Jun 1662 – 27 Jan 1747] (estimate £25'000)
— Saint John the Baptist preaching in the Wilderness (79x78cm) by Jan Havickszoon Steen [1626 – 03 Feb 1679] (estimate £50'000 — it was sold at Van den Eyck, Leiden, on 31 July 1765, as lot 49 for 92 florins and at Rietmulder, The Hague, on 17 September 1770, as lot 164, De Prediking van St. Jan in de woestyne rijk geordineert, op een moderne trant, en fraay geschildert for 59 florins).
— The Marriage at Cana; and The Sermon on the Mount (40x51cm each) a pair of paintings by Franz Christoph Janneck [03 Oct 1703 – 13 Jan 1761] (estimate £40'000)
— Study of a head of a man (29x23cm) by Federico Barocci [1526 or 1535 – 1612] (estimate £50'000)
— Group portrait of the daughters of Johann Julius von Vieth und Glossenau: Juliane Corline, Edle von der Planitz (1752-1832), Sophie Juliane Elisabeth, Gräfin d'Agrollo (1748-1832) and Juliane Charlotte, Gräfin von Todtleben (1754-1840), half-length, in lace-lined dresses and with powdered hair, holding a plumed cap by Anton Graff [18 Nov 1736 – 22 Jun 1813] (86x72cm) (estimate £60'000)
— A wooded landscape with a cavalry skirmish (77x108rm) by Joost Corneliszoon Droogsloot [1586 — 14 May 1666] [he was NOT the son of a drug slut]
— A river landscape with classical figures in a boat, a hilltop castle beyond (1805, 204x143cm) by Jean-Victor Bertin [1767 or 1775 – 11 Jun 1842] (estimate £60'000)

— Vesuvius erupting at night (98x128cm) by Pierre-Jacques Volaire “le Chevalier Volaire” [30 Apr 1729-1795] (estimate £25'000)

— A stormy coastal landscape with survivors from a shipwreck on a rocky outcrop, a tower and a ship at sea beyond (1765, 55x82cm) by Claude-Joseph Vernet [14 Aug 1714 – 03 Dec 1789] (estimate £110'000 — probably purchased from the artist in 1765 for 600 livres by M. Bouilette).

1986 Denunciado a la policía el robo de cinco grabados de Pablo Picasso del Museo español de arte contemporáneo.

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