ATTRIBUÉ À PIETER BRUEGHEL LE JEUNE (1564-1637 / 1638) ET ATELIER

Los 8
21.11.2024 00:00UTC +00:00
Classic
AuctioneerCHRISTIE'S
VeranstaltungsortVereinigtes Königreich, London
Aufgeldsee on Website%
ID 1336087
Los 8 | ATTRIBUÉ À PIETER BRUEGHEL LE JEUNE (1564-1637 / 1638) ET ATELIER
Schätzwert
€ 120 000 – 180 000
ATTRIBUÉ À PIETER BRUEGHEL LE JEUNE (1564-1637 / 1638) ET ATELIER
La Danse de noces
porte une signature '.PBRVGHEL.' (en bas, au centre)
huile sur panneau
74,8 x 94 cm (29 7/16 x 37 in.)




Provenance

Anna Kann, Amsterdam, vers 1850 (selon le catalogue de vente de 2011, op. cit. infra) ;
Puis par descendance dans la famille ; vente anonyme, Sotheby's, New York, 9 juin 2011, lot 36 (comme attribué à Pieter Brueghel le Jeune et atelier) ;
Acquis au cours de celle-ci par l'actuel propriétaire.



Exhibited

Côme, Villa Olmo ; Tel Aviv, Museum of Art, La dinastia Brueghel, 24 mars-29 juillet 2012 ; 15 août-20 novembre 2012, n°5 (comme Pieter Brueghel le Jeune avec une provenance erronée).
Rome, Chiostro del Bramante, Brueghel. Meraviglie dell'arte fiamminga, 18 décembre 2012-2 juin 2013, n°4 (comme Pieter Brueghel le Jeune avec une provenance erronée).
Bologne, Palazzo Albergati ; Turin, Venaria Reale, Brueghel. Capolavori dell’arte fiamminga, 2 octobre 2015-28 février 2016 ; 21 septembre 2016-19 février 2017, n°VII.5 (comme Pieter Brueghel le Jeune avec une provenance erronée).



Further details

ATTRIBUTED TO PIETER BRUEGHEL THE YOUNGER (1564-1637 / 1638) AND WORKSHOP, THE WEDDING DANCE, OIL ON PANEL, BEARS A SIGNATURE

The Wedding Dance, described by the great expert Georges Marlier (1898-1968) as one of the most popular of all subjects in Flemish painting at the beginning of the seventeenth century, is one of a group by Pieter Brueghel the Younger (1564-1637/1638) representing different episodes during a wedding day, generally regarded as amongst the high points of the artist's oeuvre. The group's popularity can be understood through its combination of landscape and genre with Brueghel's familiar pathos-imbued depiction of bawdiness in seventeenth-century Flemish life. Like many of Pieter the Younger's works, these are part of a tradition largely established by his father, Pieter Bruegel the Elder (c.1525/1530-1569), most notably in the famous Wedding Banquet in the Kunsthistorisches Museum, Vienna (inv. no. 1027).

The present composition derives from a different, untraced, drawing or painting by Bruegel the Elder, known from an engraving by Pieter van der Heyden (1530-1572), published by Hieronymus Cock (1518-1570); a derivation from the same source is also known by Jan Brueghel the Elder (1568-1625) in the Bordeaux, Musée des beaux-arts (inv. no. Bx E 103). The earliest known paintings of this subject by Pieter the Younger are those in the Walters Art Gallery, Baltimore (inv. no. 37.364), and the Musées Royaux des Beaux-Arts, Brussels (inv. no. 8725), both of which are signed and dated 1607. The present work appears to have been executed in Brueghel's studio, the master's hand is discernable in certain figures in the foreground. Interestingly, the present painting is one of the largest versions of this particular composition.

Pieter the Younger's works of this type can be divided into two groups: those painted in the same sense as Van der Heyden's engraving, and those in reverse. The present picture, together with the majority of autograph versions, belongs to the latter group, believed to derive directly from his father's lost work rather than from the engraving. It features more of a developed landscape and thins out the background crowds present in the engraving.
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