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Christoph Amberger

Germany (1490 -  1562 ) Wikipedia® : Christoph Amberger
AMBERGER Christoph Portrait Of A Gentleman, Half Length, In Profile, Wearing A Black Hat And Jacket With A Fur Coat, Before A Parapet

Sotheby's /Jul 10, 2003
57,298.40 - 85,947.59
Not Sold

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Artworks in Arcadja
11

Some works of Christoph Amberger

Extracted between 11 works in the catalog of Arcadja
Christoph Amberger - Portrait Of Barbara Schwarz

Christoph Amberger - Portrait Of Barbara Schwarz

Original
Estimate:

Price:

Gross Price
Lot number: 7
Other WORKS AT AUCTION
Description:
PROPERTY FROM A PRIVATE COLLECTION Christoph Amberger PORTRAIT OF BARBARA SCHWARZ PLACE UNKNOWN CIRCA 1505 - 1561/2 AUGSBURG inscribed with the sitter's year of birth in an astrological diagram, upper right: 1507/ AD.21:AVG:TO; and inscribed and dated beneath: TO/ XXI AVG: M:DXLII/ .BARBARA./ DIE MATHEVSIN SCHWERTZIN/ .AE.KRAD.XXXV.IAR oil on panel 72 x 61.2 cm.; 28 3/8 x 24 1/8 in. Commissioned by the sitter's husband Mathias Schwartz (1497– c. 1574) to commemorate her birthday on the 21st August 1542; Possibly Ferdinand August Hartmann (probably the painter Christian Ferdinand Hartmann (1774–1842), Dresden, together with the companion portrait of the sitter's husband; By descent to Johann Gottlob von Quandt (1787–1859), Dresden; Von Ritzenberg collection, Schloss Nischwitz, near Wurzen, Saxony, until 1870; Richard Freiherr von Friesen (1808–1884), Dresden, together with pendant; His posthumous sale, Cologne, Lempertz and Heberle, 26 March 1885, lot 3, for DM 6,500; There acquired by Dr. Martin Schubart (1840–1899), Dresden and later Munich, together with pendant; His posthumous sale, Munich, Helbing, 23 October 1899, lot 3, together with pendant for DM 51,000; There acquired by Colnaghi, London; Leopold Hirsch (1857–1932), 10 Kensington Palace Gardens, London, by 1906, together with pendant; His posthumous sale London, Christie's, 11 May 1934, lot 89, for 1,500 guineas, to Heinemann; With Arnold Seligmann, New York and London, 1936; With Kurt Meissner, Zurich, 1953; Acquired in 1976 by the family of the present owner. Munich, Glaspalast, VI. Internationale Kunstausstellung. Alte Meisterwerke, 1894; Munich, Köningliche Kunstausstellungs-Gebäude, 1895, no. 2; London, Burlington Fine Arts Club, Exhibition of Early Gwrman Art, 1906, no. 27; Possibly Detroit, Detroit Institute of Arts, in about 1969; Augsburg, Rathaus and Zeughaus, Die welt im Umbruch: Augsburg zwischen renaissance und Barock, 28 June – 28 September 1980, no. 45. C. Schwarz, Kostümbuch [\\\\‘Das Schwarz\\\\’sche Trachtenbuch II\\\\’], 1561, MS Brunswick, Herzog Anton Ullrich-Museum, Kupferstichkabinett, inv. H. 27 Nr. 51, \\\\‘Barbara Mangolltin meiner Lieben mueter aigentich gstallt Wie sy Im Agosto 1542 Das ist 10 Monat nachdem ich geborn gewöst, gesechen hat, abcontrofact durch Jheremias Schemel von ainer tafel die der allt Christoff amberger damalls gemallt hat – Si was Dismalls allt 35 lar Krad\\\\’; C. Richard, Matthäus und Veit Konrad Schwarz, nach ihren merkwürdigsten Lebensumständen und vielfältig abwechselden Kleidertrachten, Magdeburg 1786, pp. 17 and 18; P. von Stetten the Younger, Kunst Gewerbe und Handwerks-Geschichte der Reichs-Stadt Augsburg, Augsburg 1788, I, p. 295, II, pp. 257–58; J.G. von Quandt, Verzeichnis von Gemälden und anderen Kunstgegenständen im Hause des J.G.v. Quandt zu Dresden, Dresden 1824; W. Engelmann and A. Woltmann, \\\\‘Amberger, Christoph: Die Werke des Meisters\\\\’, Allgemeines Künstler-Lexikon, I, 1872, p. 602, no. 8; A. von Zahn, \\\\‘Zwei Bildnisse von Christoph Amberger und die Trachtenbücher der beiden Schwartz, Vater und Sohn, von Augsburg\\\\’, Zahns Jahrbücher für Kunstwissenschaft, IV, 1871, pp. 127–34; A. Woltmann, \\\\‘Christoph Amberger\\\\’, Kunstchronik: Beiblatt zur Zeitschrift für bildende Kunst, IX, 1874, col. 191, p. 601, no. 8; A. Woltmann, \\\\‘Christoph Amberger\\\\’, Die Wartburg, IX, 1874, pp. 151–53, no. 8; A. Woltmann and K. Woermann, eds., Geschichte der Malerei, II: Die Malerei der Renaissance, Leipzig 1882, p. 453; A.Bredius, \\\\‘Die Auktion von Friesen und die neuesten Ankäufe der Kölner Gemäldegalerie\\\\’, Kunstchronik: Beiblatt zur Zeitschrift für bildende Kunst, XX, 1885, col. 501; H. Janitschek, Geschichte der deutschen Kunst, III: Geschichte der deutschen Malerei, Berlin 1889, p. 433; C. Hofstede de Groot, Sammlung Schubart, Früher Dresden jetzt München: Eine Auswahl von Werken alter Meister, Munich n.d. [1894], I, pp. 1 and 51; T. von Trimmel, \\\\‘Die Galerie Schubart in München\\\\’, Zeitschrift für bildende Kunst, V, 1894, pp. 216 and 218; E. Haasler, Der Maler Christoph Amberger von Augsburg, Ph.D. dissertation, 1893, pp. 83–86 and 129, no. 23; M. Schubart, \\\\‘Christoph Ambergers Bildnisse de Matheus und der Barbara Schwartz von Augsburg. 1542. Vortrag, gehalten am 30. April 1894 im Münchner Alterthumsverein\\\\’, Zeitschrift des Münchner Alterthumsvereins, VI, 1894, pp. 1–5; W. von Seidlitz, Beilage der Allgemeinen Zeitung, 1894, no. 19; F. von Reber and R. Bayersdorfer, Klassischer Bilderschatz, VII, 1895, no. 994; F. Pecht, Allgemeinen Zeitung, 1895, no. 194; M. Schubart, \\\\‘Drei Augsburger Portraitmedaillen: Matthäus Schwarz, 1527, 1550. Veit Conrad Schwarz, 1563\\\\’, Zeitschrift des Münchner Alterthumsvereins, VII, 1895, pp. 14–16, n. 1; Vom Fels zum Meer, 1895, p. 538; \\\\‘Veiling Schubart\\\\’, review, clipping in an RKD catalogue of the 1899 sale (Lugt 57500), under nos 2 and 3; M.J. Friedländer, \\\\‘Amberger, Christoph\\\\’, in U. Thieme, F. Becker and H. Vollmer (eds), Allgemeines Lexikon der Bildenden Künstler von der Antike bis zur Gegenwart, I, 1907, p. 388; G. Bezold, \\\\‘Beiträge zur Geschichte des Bildnisses\\\\’, Mitteilungen aus dem Germanischen Nationalmuseum Nürnberg, 1920–21, pp. 46–101; E. Auerbach, Die deutsche Bildnismalerei im 16. Jahrhundert in Franken, Schwaben und Bayern, Ph.D. dissertation, Frankfurt am Main 1925, p. 24; F. Weigl, Christoph Amberger, ein mittelalterlicher Maler oberpfälzisch-Ambergischer Abstammung, Amberg i.d. Oberpfalz 1926; L. von Baldass, \\\\‘Studien zur Augsburger Porträtmalerei des 16. Jahrhunderts\\\\’, III: \\\\‘Christoph Amberger als Bildnismaler\\\\’, Pantheon, IX, 1932, pp. 178 and 182; S. Flamand-Christensen, Die männliche Kleidung in der süddeutschen Renaissance, Berlin 1934, pp. 9–10; A. Carfax, \\\\‘Treasures of the Leopold Hirsch Collections\\\\’, Connoisseur, March 1934, pp. 182–84, reproduced; H. Leporini, \\\\‘Rundschau\\\\’, Pantheon, XIII, 1934, no. 1, pp. 125–26; W. R. Deusch, Deutsche Malerei des 16. Jahrhunderts, Berlin 1935, p. 22, fig. 87; C.L. Kuhn, A Catalogue of German Paintings of the Middle Ages and Renaissance in American Collections, Cambridge, Massachusetts, 1936, p. 68, no. 288, pl. 58; \\\\‘Notable Works of Art now on the Market\\\\’, The Burlington Magazine, LXXI, 1937, supplement, pl. 13; R. Heinemann, Sammlung Schloss Rohoncz, Zurich 1937, pp. 2–3, under no. 6; H. W. Singer, Neuer Bildniskatalog, Leipzig, IV, 1938, p. 230, no. 32649; P. Wescher, Grosskaufleute der Renaissance, Basel 1941, pp. 113 and 185; N. Lieb, Die Fugger und die Kunst im Zeitalter der hohen Renaissance, (Studien zur Fuggergeschichte, XIV), Munich 1958, pp. 88 and 376ff.; A. Fink, Die Schwarzschen Trachtenbücher, Berlin 1963, pp. 15, 62, 168 and 186, fig. 6; K. Löcher, \\\\‘Studien zur oberdeutschen Bildnismalerei des 16. Jahrhunderts\\\\’, Jahrbuch der Staatlichen Kunstsammlungen in Baden-Würtemberg, IV, 1967, pp. 47ff.; J.C. Ebbinge-Wubben, C. Salm, C. Sterling, and T. Heinemann, The Thyssen-Bornemisza Collection, Zurich 1969, pp. 10–11, under no. 2; J.C. Ebbinge-Wubben, C. Salm, C. Sterling, and T. Heinemann, Sammlung Thyssen-Bornemisza, Zurich 1971, pp. 10–13, under no. 2; D. Koepplin and T. Falk, Cranach: Gemälde, Zeichnungen, Druckgraphik, Basel and Stuttgart, 1976, II, pp. 723–24, no. 656, and supplement \\\\‘Vorläufiges Verzeichnis der im 2. Band katalogisierten und in Auswahl abgebildeten Ausstellungsobjekte\\\\’, p. 23, no. 656; K. Löcher, in Die Welt im Umbruch: Augsburg zwischen Renaissance und Barock, Augsburg 1980, II: Rathaus, pp. 23–30 and 107, no. 457, pl. 11; K. Löcher, \\\\‘Christoph Amberger\\\\’ in Die Welt im Umbruch: Augsburg zwischen Renaissance und Barock, Augsburg 1981, III: Beiträge, pp. 136ff., no. 4; G. Goldberg, \\\\‘Old Masters from the German School\\\\’, Apollo, CXVIII, July 1983, p. 35 (as in the \\\\‘Detroit Museum\\\\’); C. Pirovano (ed.), Paris Bordone, Milan 1984, p. 70; Meisterwerke des 15.-20. Jahrhunderts aus der Sammlung von Baron Thyssen-Bornemisza, Budapest 1985, pp. 36–38, 141; K. Löcher, \\\\‘Bildnismalerei des späten Mittelalters und der Renaissance in Deutschland\\\\’, in I. Lübbeke and B. Bushart, eds., Altdeutsche Bilder der Sammlung Georg Schäfer, Schweinfurt 1985, pp. 31 and 48; K. Löcher, in Allgemeinen Künstlerlexicon: Die bildenden Künstler aller Zeiten und Völker, II, Leipzig 1986, p. 585; B. Yamey, Arte e contabilità, Bologna 1986, p. 65; Old Master Paintings from Thyssen-Bornemisza Collection, Moscow and Saint Petersburg 1987, pp. 48–49 and 101–02; Maestros Antiguos de la Colección Thyssen-Bornemisza, Madrid 1987, pp. 64–67; C. de Watteville, Collezione Thyssen-Bornemisza: guida alle opera esposte, Milan 1989, p. 13; I. Lübbeke and M. Thomas Will, The Thyssen-Bornemisza Collection: Early German Paintings, 1350–1550, 1991, pp. 41–43, under no. 2, reproduced fig. 3; K. Löcher, \\\\‘Amberger, Christoph\\\\’, in Künstler-Lexikon, III, 1992, p. 123; F. Elsig, \\\\‘Christoph Amberger Portrait von Barbara Schwarz\\\\’, in K. Meissner, Gemälde und Zeichnungen aus sechzig Jahren Kunsthandel, Zurich 2003, pp. 112–13; A. Kranz, Christoph Amberger: Bildnismaler zu Augsburg, Regensburg 2004, pp. 319–27, no. 34 and under no. 33, reproduced fig. 75; U. Rublack, Dressing Up. Cultural Identity in Renaissance Europe, Oxford, 2010, p. 64; U. Rublack and M. Hayward (eds.), The First Book of Fashion. The Book of Clothes of Matthäus & Veit Konrad Schwarz of Augsburg, London and New York 2015, pp. 17, 189, 334, reproduced fig. 1.13.
Christoph Amberger - Portrait Of Barbara Schwarz, Half-length

Christoph Amberger - Portrait Of Barbara Schwarz, Half-length

Original
Estimate:

Price:

Lot number: 163
Other WORKS AT AUCTION
Description:
Christoph Amberger (Augsburg c. 1505-1561/1562)

Portrait of Barbara Schwarz, half-length

dated '1501/ADI·21:AVG:TO' (upper right, in geometric diagram with symbols) and inscribed 'TO·XXI.AVG:M·DXLII·BARBARA·DIE MATHEVSIN SCHWERTZIN·AE.KRAD.XXXV.IAR' (upper right)

oil on panel

28 3/8 x 24 1/8 in. (72 x 61.2 cm.)
Painted for the sitter's husband, Matthäus Schwarz (1497-c.1574) to commemorate her birthday, 21 August 1542, and by descent. (Possibly) 'Ferdinand August Hartmann', probably the painter Christian Ferdinand Hartmann (1774-1842), Dresden, with the pendant portrait of Matthäus Schwarz, and by descent to Johann Gottlob von Quandt (1787-1859), Dresden; (+), 1868. Von Ritzenberg Collection, Schloss Nischwitz, near Wurzen, Saxony, until 1870. Richard Freiherr von Friesen (1808-1884), Dresden, with the pendant; (+), Heberle and Lempertz, Cologne, 26 March 1885, lot 3, 'äusserst charakteristisch mit grosser Meisterschaft behandelten Bilder haben noch das erhöhte kunsthistorische Interesse' (sold with the pendant for 6,500 Marks to the following). Dr. Martin Schubart (1840-1899), Dresden and subsequently Munich, with the pendant, by 1894; (+), Helbing, Munich, 23 October 1899, lot 3 (sold with the pendant for 51,000 Marks to the following). with P. & D. Colnaghi, London, with the pendant. Leopold Hirsch (1857-1932), 10 Kensington Palace Gardens, London, with the pendant, by 1906; (+), Christie's, London, 11 May 1934, lot 89, (sold separately from the pendant, 1,500 gns. to Heinemann). with Arnold Seligmann, New York and London, 1936. with Kurt Meissner, Zurich, 1953. Acquired in 1976 by the family of the present owner.
PROPERTY FROM A PRIVATE EUROPEAN COLLECTION
V. C. Schwarz, Kostümbuch ['Das Schwarz'sche Trachtenbuch II'], 1561, MS, Brunswick, Herzog Anton Ulrich-Museum, Kupferstichkabinett, inv. H.27 Nr. 51,'Barbara Mangolltin meiner Lieben mueter aigentich gstallt Wie sy Im agosto 1542 Das ist 10 Monat nachdem ich geborn gewöst, gesechen hat, abcontrofact durch Jheremias Schemel von ainer tafel die der allt Christoff amberger damalls gemallt hat - Si was Dismalls allt 35 Iar Krad'. E. C. Richard, Matthäus und Veit Konrad Schwarz, nach ihren merkwürdigsten Lebensumständen und vielfältig abwechselden Kleidertrachten, Magdeburg, 1786, pp. 17 and 18. P. von Stetten the Younger, Kunst Gewerbe und Handwerks-Geschichte der Reichs-Stadt Augsburg, Augsburg, 1788, I, p. 295, II, pp. 257-258. J. G. von Quandt, Verzeichniss von Gemälden und anderen Kunstgegenständen im Hause des J. G.v. Quandt zu Dresden, Dresden, 1824. W. Engelmann and A. Woltmann, 'Amberger, Christoph: Die Werke des Meisters', in Allgemeines Künstler-Lexikon, I, 1872, p. 602, no. 8. A. von Zahn, 'Zwei Bildnisse von Christoph Amberger und die Trachtenbücher der beiden Schwartz, Vater und Sohn, von Augsburg', Zahns Jahrbücher für Kunstwissenschaft, IV, 1871, pp. 127-34. A. Woltmann, 'Christoph Amberger', Kunstchronik: Beiblatt zur Zeitschrift für bildende Kunst, IX, 1874, col. 191, p. 601, no. 8. A. Woltmann, 'Christoph Amberger', Die Wartburg, IX, 1874, pp. 151-153, no. 8. A. Woltmann and K. Woermann, eds., Geschichte der Malerei, II: Die Malerei der Renaissance, Leipzig, 1882, p. 453. A. Bredius, 'Die Auktion von Friesen und die neuesten Ankäufe der Kölner Gemäldegalerie', Kunstchronik: Beiblatt zur Zeitschrift für bildende Kunst, XX, 1885, col. 501. H. Janitschek, Geshichte der deutschen Kunst, III: Geschichte der deutschen Malerei, Berlin, 1889, p. 433. C. Hofstede de Groot, Sammlung Schubart, Früher Dresden jetzt München: Eine Auswahl von Werken alter Meister, Munich, s.d. [1894], I, p. 1 and 51. T. von Frimmel, 'Die Galerie Schubart in München', Zeitschrift für bildende Kunst, V, 1894, pp. 216 and 218. E. Haasler, Der Maler Christoph Amberger von Augsburg, Ph.D. dissertation, 1893, pp. 83-86 and 129, no. 23. M. Schubart, 'Christoph Ambergers Bildnisse de Matheus und der Barbara Schwartz von Augsburg. 1542. Vorlag, gehalten am 30. April 1894 im Münchner Alterthumsverein', Zeitschrift des Münchener Altertumsvereins, VI, 1894, pp. 1-5. W. von Seidlitz, Beilage der Allgemeinen Zeitung, 1894, no. 19. F. von Reber and R. Bayersdorfer, Klassischer Bilderschatz, VII, 1895, no. 994. F. Pecht, Allgemeinen Zeitung, 1895, no. 194. M. Schubart, 'Drei Augsburger Portraitmedaillen: Matthäus Schwarz, 1527, 1550. Veit Conrad Schwarz, 1563', in Zeitschrift des Münchner Altertumsvereins, VII, 1895, pp. 14-16, note 1. Von Fels zum Meer, 1895, p. 538. 'Veiling Schubart', review, clipping in an RKD catalogue of the 1899 sale (Lugt 57500), under nos. 2 and 3. M. J. Friedländer, 'Amberger, Christoph', in U. Thieme, F. Becker and H. Vollmer, eds., Allgemeines Lexikon der Bildenden Künstler von der Antike bis zur Gegenwart, I, 1907, p. 388. G. Bezold, 'Beiträge zur Geschichte des Bildnisses', Mitteilungen aus dem Germanischen Nationalmuseum Nürnburg, 1920-1921, pp. 46-101. E. Auerbach, Die deutsche Bildnismalerei im 16. Jahrhundert in Franken, Schwaben und Bayern, Ph.D. dissertation, Frankfurt am Main, 1925, p. 24. F. Weigl, Christoph Amberger, ein mittelalterlicher Maler oberpfälzisch-Ambergischer Abstammung, Amberg i. d. Oberpfalz, 1926. L. von Baldass, 'Studien zur Augsburger Porträtmalerei des 16. Jahrhunderts', III: 'Christoph Amberger als Bildnismaler', Pantheon, IX, 1932, pp. 178 and 182. S. Flamand-Christensen, Die männliche Kleidung in der süddeutschen Renaissance, Berlin, 1934, pp. 9-10. A. Carfax, 'Treasures of the Leopold Hirsch Collections', Connoisseur, March 1934, pp. 182-184, illustrated. H. Leporini, 'Rundschau', Pantheon, XIII, 1934, no. 1, pp. 125-126. W. R. Deusch, Deutsche Malerei des 16. Jahrhunderts, Berlin, 1935, p. 22, fig. 87. C. L. Kuhn, A Catalogue of German Paintings of the Middle Ages and Renaissance in American Collections, Cambridge, Massachusetts, 1936, p. 68, no. 288, pl. 58. 'Notable Works of Art now on the Market', The Burlington Magazine, LXXI, 1937, supplement, pl. 13. R. Heinemann, Sammlung Schloss Rohoncz, Zurich, 1937, pp. 2-3, under no. 6. H. W. Singer, Neuer Bildniskatalog, Leipzig, IV, 1938, p. 230, no. 32649. P. Wescher, Grosskaufleute der Renaissance, Basel, 1941, pp. 113 and 185. N. Lieb, Die Fugger und die Kunst im Zeitalter der hohen Renaissance, (Studien zur Fuggergeschichte, XIV), Munich, 1958, pp. 88 and 376ff. A. Fink, Die Schwarzschen Trachtenbücher, Berlin, 1963, pp. 15, 62, 168 and 186, fig. 6. K. Löcher, 'Studien zur oberdeutschen Bildnismalerei des 16. Jahrhunderts', Jahrbuch der Staatlichen Kunstsammlungen in Baden-Würtemberg, IV, 1967, pp. 47ff. J. C. Ebbinge-Wubben, C. Salm, C. Sterling, and T. Heinemann, The Thyssen-Bornemisza Collection, Zurich, 1969, pp. 10-11, under no. 2. J. C. Ebbinge-Wubben, C. Salm, C. Sterling and T. Heinemann, Sammlung Thyssen-Bornemisza, Zurich, 1971, pp. 10-13, under no. 2. D. Koepplin and T. Falk, Cranach: Gemälde, Zeichnungen, Druckgraphik, Basel and Stuttgart, 1976, II, pp. 723-4, no. 656, and supplement 'Vorläufiges Verzeichnis der im 2. Band katalogisierten und in Auswahl abgebildeten Ausstellungobjekte', p. 23, no. 656. K. Löcher, in Die Welt in Umbruch: Augsburg zwischen Renaissance und Barock, Augsburg, 1980, II: Rathaus, pp. 23-30 and 107, no. 457, pl. 11. K. Löcher, 'Christoph Amberger', in Die Welt in Umbruch: Augsburg zwischen Renaissance und Barock, Augsburg, 1981, III: Beiträge, pp. 136ff., no. 4. G. Goldberg, 'Old Masters from the German School', Apollo, CXVIII, July 1983, p. 35, as in the 'Detroit Museum'. C. Pirovano, ed., Paris Bordone, Milan, 1984, p. 70. Meisterwerke des 15.-20. Jahrhunderts aus der Sammlung von Baron Thyssen-Bornemisza, Budapest, 1985, pp. 36-38, 141. K. Löcher, 'Bildnismalerei des späten Mittelalters und der Renaissance in Deutschland', in I. Lübbeke and B. Bushart, eds., Altdeutsche Bilder der Sammlung Georg Schäfer, Schweinfurt, 1985, pp. 31 and 48. K. Löcher, in Allgemeines Künstlerlexicon: Die bildenden Künstler aller Zeiten und Völker, II, Leipzig, 1986, p. 585. B. Yamey, Arte e contabilità, Bologna, 1986, p. 65. Old Masters Paintings from Thyssen-Bornemisza Collection, Moscow and Saint Petersburg, 1987, pp. 48-49 and 101-102. Maestros Antiguos de la Colección Thyssen-Bornemisza, Madrid, 1987, pp. 64-67. C. de Watteville, Collezione Thyssen-Bornemisza: guida alle opere esposte, Milan, 1989, p. 13. I. Lübbeke and M. Thomas Will, The Thyssen-Bornemisza Collection: Early German Painting, 1350-1550, 1991, pp. 41-43, under no. 2, fig. 3. K. Löcher, 'Amberger, Christoph', in Künstler-Lexikon, III, 1992, p. 123. F. Elsig, 'Christoph Amberger Portrait von Barbara Schwarz', in K. Meissner, Gemälde und Zeichnungen aus sechzig Jahren Kunsthandel, Zurich, 2003, pp. 112-113. A. Kranz, Christoph Amberger: Bildnismaler zu Augsburg, Regensburg, 2004, pp. 319-27, no. 34 and under no. 33, fig. 75. U. Rublack, Dressing Up. Cultural Identity in Renaissance Europe, Oxford, 2010, p. 64.
Munich, Glaspalast, VI. Internationale Kunstausstellung, Alte Meisterwerke, 1894 (curated by Franz von Lenbach). Munich, Köningliche Kunstausstellungs-Gebäude, 1895, no. 2. London, Burlington Fine Arts Club, Exhibition of Early German Art, 1906, no. 27. (Possibly) Detroit, Detroit Institute of Arts, c. 1969. Augsburg, Rathaus und Zeughaus, Die Welt im Umbruch: Augsburg zwischen Renaissance und Barock, 28 June-28 September 1980, no. 457 (note by K. Löcher).
Christoph Amberger - Place Unknown Circa 1505 - 1561/2 Augsburg

Christoph Amberger - Place Unknown Circa 1505 - 1561/2 Augsburg

Original 1541
Estimate:

Price:

Gross Price
Lot number: 158
Other WORKS AT AUCTION
Description:
LOT 158
SOLD BY THE LOS ANGELES COUNTY MUSEUM OF ART TO BENEFIT FUTUREACQUISITIONS
CHRISTOPH AMBERGER
PLACE UNKNOWN CIRCA 1505 - 1561/2 AUGSBURG
PORTRAIT OF HANS JAKOB FUGGER, THREE-QUARTER LENGTH, BEFORE A GREENDRAPE
200,000—300,000 USD
measurements
measurements note
37 3/4 by 31 1/4 in.; 95.9 by 79.4 cm.
Description
dated upper right: MDXLI (1541)
oil on panel
PROVENANCE
In the collection of the Princes Fugger, Babenhausen;Probably in the collection of the Liechtenstein family, CastleFriedau, Österreich;Graf von Trautmannsdorf, Castle Friedau, Österreich;Gräfin Isbary, Vienna, circa 1927;Thence by descent to her daughter, Princess Windischgrätz, until1968;With Frederick Mont Inc., New York, 1968;Gift of the Michael J. Connell Foundation to the Los Angeles CountyMuseum of Art, 1968 (acc. no. M.68.33).
EXHIBITED
Los Angeles, Los Angeles County Museum of Art, A decade ofcollecting, 1965-1975, April 8-June 29, 1975, no. 57.
LITERATURE AND REFERENCES
Bulletin of the Los Angeles County Museum, Annual Report,1967-1968, vol. XVIII, Nr. 3,4 (1969), pp.9-11;H.J. Seldis, "Top Museum Acquisitions Span Styles, Centuries", inLos Angeles Times, January 19, 1969, p. 44, reproduced;A decade of collecting, 1965-1975, exhibition catalogue, LosAngeles 1975, pp. 171-2, cat. no. 57, reproduced;M. Young, "A Decade of Collecting. Los Angeles County Museum ofArt", in Apollo, 101, 1975, p. 220, reproduced p. 222,plateVII;K. Donahue, Los Angeles County Museum of Art Handbook, LosAngeles 1977, p. 68, reproduced;K. Löcher, "Christoph Amberger", in Welt im Umbruch. Augsburgzwischen Renaissance und Barock, exhibition catalogue, Augsburg1981, p, 145, reproduced, p. 146;S. Schaefer, et al., European Painting and Sculpture in the LosAngeles County Museum of Art. Los Angeles, Los Angeles 1987, p. 12,reproduced;K. Löcher, "Amberger, Christoph", in Künstler-Lexikon, vol. III,1992, p. 123;Katalog Munchen, 2000, p. 181, reproduced, p. 182;A. Kranz, Christoph Amberger: Bildnismaler zu Augsburg, Bonn 2000,pp. 307-11, cat. no. 30, reproduced in color, plate 72;N. Bulst and T. Lüttenberg, "Andreas Priever: Abbild oderWunschbild? Bildnisse Christoph Ambergers im Spannungsfeld vonRechtsnorm und gesellschaftlichem Anspruch", in Saeculum, 53/I,2002, p. 65.
CATALOGUE NOTE
In 1968, Alfred Strange described this portrait as "... one ofthe most beautiful works of the full-blown Renaissance inGermany."1 It was painted in 1541 by Christoph Amberger,the leading painter in Augsburg at the time, and it almostcertainly represents Hans Jakob Fugger, eldest son of RaimondFugger and a member of the richest family in the Holy RomanEmpire.2 The portrait's success lies in its fusion ofGerman Renaissance and Italian Mannerist ideals, rising out of thetradition of Holbein and Dürer's great portraits of the earlydecades of the 16th century while looking too at thestylized aristocratic portraiture being developed by Pontormo andBronzino who, at about the same time, were court painters inFlorence to the Fuggers' great rivals, the Medici. Here, Fugger isdepicted as the epitome of Renaissance man, impeccably dressed in adark jacket in the Spanish style that was the height of fashioncirca 1540, his hand resting above the hilt of his beautifullymolded sword, and looking confidently, perhaps even arrogantly,into the distance. In the same year Amberger painted the portrait of Hans Jakob'syounger brother, Christoph (1520-1579), in similar guise, at theage of twenty, on a panel of near-identical dimensions (Munich,Alte Pinakothek; fig. 1). In this latter Christoph does indeedappear a few years younger than Hans Jakob in the present portraitand he shares with him a great physiognomic likeness. Christoph'sportrait can be traced with certainty back to the Fugger familycollection at Babenhausen3 and it seems very likely thatthese two portraits thus constituted a joint commission fromAmberger to paint the two brothers in 1541 (of which more below).In the same year Raimond's middle son Georg (1518-1569) sat toJakob Seisenegger, completing the trio of portraits, although it isnot clear why Amberger was not asked to paint this portrait inaddition to the other two.4Hans Jakob married the seventeen year old Ursula von Harrach (d.1554) in 1540. Ursula's likeness is recorded in an engraving byDominicus Custos (after 1550 – 1612) of a now lost painting whichhowever, on the basis of style, has been attributed to Seiseneggerby Locher. Locher has suggested that the portrait was commissionedat the same time as the Los Angeles picture and may very well havebeen executed by Seisenegger as a pendant to it.5Seisenegger had been invited to Augsburg in June 1540 on theoccasion of Hans Jakob and Ursula's marriage and, through hisportrait of Georg, we know he was still in the employ of theFuggers in 1541, at the same time as Amberger, so this theory seemsquite plausible. However, equally likely is that the set ofportraits were commissioned by the brothers on their gainingcommercial control of the Fugger trading company in 1541. 1. Bulletin of the Los Angeles County Museum, Annual Report,1967-1968, vol. XVIII, Nr. 3,4 (1969), p. 9.2. Around the time of this portrait their fortune was calculated at63 million florins.3. It was acquired in 1927 directly from the Fuggers ofBabenhausen.4. K. Locher, Jakob Seisenegger , 1962, pp. 87-88, no. 32. Ofa fourth brother, Raimond the Younger, no extant portrait by eitherartist exists.5. Private communication with the Museum in 1974. Reproduced in O.Fischel, Tizian (Klassiker der Kunst), vol. III, 1924, p. 286.
Christoph Amberger - Portrait Of A Gentleman, Half Length, In Profile, Wearing A Black Hat And Jacket With A Fur Coat, Before A Parapet

Christoph Amberger - Portrait Of A Gentleman, Half Length, In Profile, Wearing A Black Hat And Jacket With A Fur Coat, Before A Parapet

Original 1533
Estimate:

Price:

Lot number: 156
Other WORKS AT AUCTION
Description:
oil on panel
We are grateful to Dr. Kurt Löcher,
who has confirmed the attribution on the basis of first-hand
examination, and suggests that it dates from
circa
1533.
When sold in the Wendland sale in 1931 (see
Provenance
),
this painting had a pendant, a
Portrait of an Old Woman
.
According to the catalogue entry, both pictures had been attributed
to Amberger by Max J. Friedländer.
Provenance:
We are grateful to Dr. Kurt Löcher,
who has confirmed the attribution on the basis of first-hand
examination, and suggests that it dates from
circa
1533.
When sold in the Wendland sale in 1931 (see
Provenance
),
this painting had a pendant, a
Portrait of an Old Woman
.
According to the catalogue entry, both pictures had been attributed
to Amberger by Max J. Friedländer.

Provenance:

Dr. Hans Wendland, Lugano;

By whom sold, Berlin, Graupe, 20-23 April 1931, lot 38.
Christoph Amberger - Portrait Of A Noblewoman, Half Length, Wearing Black, Holding A Pair Of Gloves

Christoph Amberger - Portrait Of A Noblewoman, Half Length, Wearing Black, Holding A Pair Of Gloves

Original 1522
Estimate:

Price:

Lot number: 29
Other WORKS AT AUCTION
Description:

as friedlander observed, this portrait was painted in amberger's most fertile period. in the same year, he painted several fugger portraits including that of christopher fugger (alte pinakothek, munich), and his brother johann jakob fugger (los angeles county museum, see k. löcher, welt im umbrich, vol. iii, p.145, reproduced fig. 13). a large part of amberger's output in the decade after 1540 consisted of portraits of the fuggers and their entourage. this is probably because the fuggers made a series of marriages with austrian noble families starting in 1540 when graf johann jakkob fugger maried ursula von harrach (1522-1554), daughter of graf leonhard ii von harrach, and it would have been natural for them to have employed the leading augsburg portrait painter of the day. amberger had earlier painted the emperor charles v, whose bankers the fuggers became. peltzer (see literature) suggested that the coloured drawing by amberger of ursula von harrach, wife of johann jacob fugger (now lost) which joachim von sandart saw in 1675 (\\`\\`in obiger grösse und colorit, seher kunstriech') may have been the preparatory sketch for the present portrait. feuchtmayr (see literature) noted a \\`\\`very strong' resemblance between the present sitter and a portrait of ursula harrach engraved by dominicus custos (published 1618) after a presumed lost original (according to feuchtmayr by amberger, but generally considered to be by jacob seisnegger; see k. löcher, jacob seisnegger, 1962, pp. 45, 88, cat. no. 33, reporduced fig. 26). this strong visual evidence for the identification of the sitter in the bentick-thyssen portrait as ursula harrach is given further support by its fugger provenance. although there is no documentary proof that the bentinck-thyssen picture was in the possession of the fugger family before 1907, it is highly likely that it was. we are grateful to dr. kurt löcher for providing us with much of the above information. provenance:perhaps jacob fubgger, and by descent; prince fugger-babbenhausen, augsburg, by 1907 and until after 1925; with m. perls, berlin 1928 (no. 1 in his catalogue of that year) baron heinrich thyssen-bornemizsa, by 1930; his daughter baroness gabriella bentinck-thyssen, by whom sold london sothebys, 6 december 1995, lot 63, where acquired by the present owner. exhibited:munich, neue pinakothek, sammlung schloss rohoncz, 1930, no. 5; paris, institut néerlandais, choix de la collection bentinck, 1970, no.1 , plate 2; düsseldorf, kunstmuseum, die sammlung bentinck-thyssen, 1970-1, no.1; lausanne, fondation de l'hermitage; paris, musée marmotan; brussels, palais des beaux-arts; luxembourg, musée de l' état, la collection bentinck-thyssen, de brueghel à guardi, 1986-7, no.13. literature: m.j. friedlander in f. thieme, u. becker, allgemeines lexikon der bildenden künstler...., vol i, 1907, p.388, as one of several works of the highest quality from the artist's best period; k. scheffler bildnisse aus drei jahrhunderten, 1925, p.33, no. 29; r.a. peltzer, joachim von sandrarts academie der bau-, bild- und mahlerey-kunste von 1675..., 1925, p.332, under footnote 1507; k. feuchtmayr, 'christoph amberger und jörge hermann', munchner jahrbuch der bildenden kunst, 1938 9, p. 84, under footnote 30; r.heinemann, collection schloss rohoncz, zurich 1937, vol. 1, no. 5, vol.ii, plate 45.
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