Lot 273. VICTORS, JAN 1619 Amsterdam - 1676 o. 1677 Ostindien

Starting price:€ 12 000
Auction date:21.03.2018   14:00
Lot 273VICTORS, JAN 1619 Amsterdam - 1676 o. 1677 Ostindien
Abraham and Isaac before the sacrifice on the left (on the Altar) signed and 1644 dated. Oil on canvas. 96,5 x 91 cm. Doubled. Restored. Min. dam. The framework of dam. "Abraham took the wood for the burnt offering and invited his son, Isaac. He himself took the fire and the knife in the Hand. So both went together. After a while, Isaac said to his father Abraham, ' father! He replied: Yes, my son! Then Isaac said, behold the fire and the wood. But where is the lamb for the burnt offering? Abraham replied, God will provide himself a lamb, my son." (1. Moses, 22,6-8). In the case of Flavius Josephus, Antiquitates Judaicae I, 13.3 FF., the scene after the father and son have reached the BerGelbgoldipfel and Abraham taking Isaac to be opened there that he plans his sacrifice to God's command to comply with. The comforting Gesture of Abraham, and the questioning, sad-looking Isaac in the painting Jan Victors' give this Moment impressive and suGelbgoldestiv. For a long time Rembrandt's 1645 dated etching was one of the first representation of the rare topic, (B. 34). The present painting is preceded by the etching of Rembrandt a year, motivic Parallels, it is not excluded that Rembrandt from the work of his pupil Jan Victors had influence. In this context, there is also a drawing in the collection of Robert Lehman, New York, is of interest, which is based compositionally on both the paintings Victors' as well as in the etching of Rembrandt (see below). Egbert Haverkamp-Begemann sees in Rembrandt tend to lump the "auctor intellectualis" of the painting by Jan Victors, the etching of 1645 as well as various drawings according to the theme (The Robert Lehman Collection, see below, p. 236). The present, early work by Jan Victors' ended can be regarded as exemplary for its strong formative complex of representations according to the themes of the Old Testament. The young artists grappled with so far, not shown, of the image subject, is entirely due to the influence of his teacher, Rembrandt, the greatest imagination in the choice of new, unusual representations as a replacement. The target group of these paintings collector of Jewish and Christian faith were, two were the events of the Old Testament as a Präfigurationen of one's own life, they served as a didactic images with the representation of religious certainties and standards (see Sumowski, Vol. IV, p.&, p. 2589). Characteristic of the early self-employed painting Jan Victors' is the close-up view of the display, the figures can be played with only a small distance from the viewer. In Jan of Victor's virtuosity alternates between rather easily and extensively outlined areas, especially in the Background of the display to the brilliantly designed surface structures in the foreground. Literature: Manuth, Volker, and Iconographic studies of the histories of the Old Testament in the case of Rembrandt, and of his early Amsterdam school. Phil. Diss. Berlin, 1987, p. 140 f., cat.No 11. - Sumowski, Werner, painting in the Rembrandt-Schüler. Bd. VI, Landau 1983, p. 3746, no. 2464 (Fig. S. 4083 [Archive Recording By Ellen Bernt]). - The Metropolitan Museum of Art (Hg.), The Robert Lehman Collection. Vol. 7. Fifteenth - to Eighteenth-Century European Drawings in the Robert Lehman Collection: Central Europe, the Netherlands, France, England. New York, 1999, P. 234-237, Cat.No 73 (Fig.): a compositionally this painting is very close to the drawing of the subject, as "School of Rembrandt van Rijn" cataloged. Volker Manuth does not exclude the attribution of this drawing to Jan Victors. Cf. Sumowski, Werner, painting in the Rembrandt-Schüler. Bd. IV, Landau, 1983, p. 2589 et seq., particularly p. 2601 no. 1743, "Abraham and Isaac before the sacrifice" (with color plate p. 2642): a second version of Jan Victors' the theme from the end of the 40s (Tel Aviv Museum of Art) - Zafran, Eric, Jan Victors and the Bible, in: The Israel Museum News, 12 (1977), p. 92-120. Provenance:. Collection Edward Habich, Kassel, Germany (Lempertz & sound/Heberle), 9.-10. October, 1892, Cat.No. 156. - May. Berlin (Henry Weustenberg), 1907, Cat.No. 138 [the preceding provenance information according to the Manuth 1987]. Collection Walderdorff, Schloss Molsberg / Westerwald. - South German Aristocratic Ownership. We would like to thank Prof. Dr. Volker Manuth, Radboud University, Nijmegen, for his kind support in cataloging.

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Preview15.03.2018 - 19.03.2018
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