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Herri Met De Bles

Netherlands (1485 -  1560 ) Wikipedia® : Herri Met De Bles
de BLES Herri met A Fantastical Moonlit Landscape With St. Christopher Carrying The Christ Child Across A River

Sotheby's /Dec 9, 2015
111,095.65 - 166,643.48
188,936.70

Find artworks, auction results, sale prices and pictures of Herri Met De Bles at auctions worldwide.
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Variants on Artist's name :

Met De Bles Herri

Herri Met De Bles, Il Civetta

 

Artworks in Arcadja
57

Some works of Herri Met De Bles

Extracted between 57 works in the catalog of Arcadja
Herri Met De Bles - An Extensive Landscape With The Preaching Of Saint John The Baptist And The Baptism Of Christ

Herri Met De Bles - An Extensive Landscape With The Preaching Of Saint John The Baptist And The Baptism Of Christ

Original
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Lot number: 48
Other WORKS AT AUCTION
Description:
PROPERTY FROM A EUROPEAN PRIVATE COLLECTION Herri met de Bles AN EXTENSIVE LANDSCAPE WITH THE PREACHING OF SAINT JOHN THE BAPTIST AND THE BAPTISM OF CHRIST BOUVINES CIRCA 1510 - AFTER 1550 ANTWERP (?) signed with the owl device upper left oil on panel 76 x 113 cm.; 30 x 44 1/2 in. Colchester Hall sale, 1957 (according to the 1961 City of York Art Gallery catalogue); Admiral Sir Lionel Preston Bt. (1875–1971), Dunstable, 1957; Anonymous sale, London, Sotheby\\\’s, 4 April 1962, lot 48, to Crawley, for 2,200 guineas; With Hal O\\\’Nians, London; Roger Vandermaele, Bellegem, Courtrai; Anonymous sale (\\\‘The Property of a Gentleman\\\’), London, Sotheby's, 3 July 1985, lot 30 (the medium wrongly described as copper); Anonymous sale (\\\‘The Property of a Private Collector\\\’), New York, Christie\\\’s, 31 May 1990, lot 84; Where acquired by the present owner. Manchester, Manchester City Art Gallery, European Old Masters (Art Treasures Centenary), 1957, no. 70.
Herri Met De Bles - A Mountainous River Landscape With Christ On The Road To Emmaus

Herri Met De Bles - A Mountainous River Landscape With Christ On The Road To Emmaus

Original
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Price:

Lot number: 16A
Other WORKS AT AUCTION
Description:
Herri met de Bles (Dinant c. 1510-after 1550 Antwerp) A mountainous river landscape with Christ on the Road to Emmaus oil on panel 33 ¾ x 44 ¾ in. (85.8 x 11.7 cm.) From the beginning of the 16th century, landscape painting as a genre had begun to be ‘zealously cultivated’’’’’’’’ in the Netherlands and especially Antwerp, the region’’’’’’’’s cultural and mercantile center since the decline of Bruges during the late 1490s (M.J. Friedländer, Early Netherlandish Painting: Antonis Mor and his Contemporaries, XIII, Leiden, 1975, p. 23). The most important exponent of this new tradition was Joachim Patinir (c. 1480-1524) whose inventive and meticulous landscapes of jagged rocks, sweeping valleys and wide vistas laid the foundations for the development of the Weltlandschaft (world landscape), that would continue to be developed by later artists like Albrecht Altdorfer, Hieronymous Bosch and Pieter Brueghel the Elder. One of Patinir’’’’’’’’s most important and alluring followers was Herri met de Bles. Born around 1510, De Bles may have been the great master’’’’’’’’s nephew and is likely to have been the ‘Herry de Patenir’’’’’’’’ who registered as a member of the Antwerp Guild of St Luke in 1535 and pursued a distinguished career, with patrons heralding from Amsterdam, Prague and Italy. Among the largest known panels by the artist, the present picture shows the meeting of Christ and two of his disciples on the road to Emmaus following his Resurrection. Despite its nominally religious subject, the picture is above all an example of the artist’’’’’’’’s interest in landscape. Constructing a layered composition of fantastic formations of craggy rock, dense trees and a panoramic view of Jerusalem (probably based on a topographical drawing), De Bles creates a sweeping and highly inventive view punctuated by figures and buildings. As one of the most distinctive features of his landscapes, De Bles’’’’’’’’ carefully underdrawn backgrounds can be seen through a thinly applied oil glaze. This provides a fascinating insight into the painter’’’’’’’’s working methods and the care with which his compositions were constructed. De Bles frequently collaborated with other artists to paint the figures in his works, and it has been proposed that some of the staffage in this picture was executed by an artist working in the style Pieter Aertsen (or perhaps Aersten himself), certainly showing affinity with his work (W. Kloek, loc. cit.). While a collaboration is certainly possible, it is important to note that, as Luc Serck has pointed out, a close study of the panel reveals the figures of Christ and the Apostles to have been painted simultaneously with the landscape, while the fishing figures on the bank at right appear to have been painted on top of the landscape and could be by a second hand, possibly the Master of Paul and Barnabas (active c. 1530-1540; see L. Serck in Autour de Henri Bles, 2000, loc. cit.).
Herri Met De Bles - On The Way To Mount Calvary

Herri Met De Bles - On The Way To Mount Calvary

Original
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Gross Price
Lot number: 19
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Description:
Herri met de Bles (Dinant circa 1500 – circa 1555) On the Way to Mount Calvary, oil on panel, 31 x 47 cm, framed Provenance: Private collection, Germany; sale, Hugo Helbing, Munich, 14 december 1934, lot 299; with Samuel Hartveld, Antwerp, 1935; sale, Hans W. Lange, Berlin, 6 december 1937, lot 3; Dr. Jacob Koerfer (1902-1990), Berlin; sale, Hans W. Lange, 27 January 1943, lot 8; Private collection, Belgium; sale, Artcurial, Paris, 13 November 2015, lot 57; Private collection, Belgium Literature: D. Schubert, Die Gemälde des Braunschweiger Monogrammisten: Ein Beitrag zur Geschichte der niederländischen Malerei des 16. Jahrhunderts, Cologne 1970, p. 34; M. J. Friedländer, Early Netherlandish Painting, vol. XIII, Leiden 1972, p. 79, no. 67b; R. Genaille, La Montée au Calvaire de Bruegel l’’’’’’’’Ancien, in: Jaarboek van het Koninklijk Museum vor Schone Kunst, Antwerpe 1979, p. 160, note 33; L. Serck, Henri Bles et la peinture du paysage dans les Pays-Bas méridionaux avant Bruegel (phil. diss.), vol. 3, Leuven 1990, p. 732; L. Serck, ‘La Montée au Calvaire’’’’’’’’ dans l’’’’’’’’oeuvre de Henri Bles: création et composition, in: N. E. Muller, B. J. Rosasco, J. H. Marrow, Herri met de Bles, Studies and Explorations of the World Landscape Tradition, Princeton/Turnhout 1998, pp. 65-66, no. 12 Herri met de Bles, a student of Joachim Patinier, was one of the leading Mannerist landscapists of his time. By handling subject matters like that of the present painting he was able to display his talent for well-planned compositions populated with large numbers of figures and landscape compositions partially featuring exaggerated anthropomorphic features. Further examples of this composition can be found in the Kunsthistorisches Museum, Vienna, and in the Doria Pamphilj Collection in Rome.
Herri Met De Bles - A Fantastical Moonlit Landscape With St. Christopher Carrying The Christ Child Across A River

Herri Met De Bles - A Fantastical Moonlit Landscape With St. Christopher Carrying The Christ Child Across A River

Original
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Gross Price
Lot number: 4
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Description:
Herri met de Bles BOUVINES CIRCA 1510 - AFTER 1550 ANTWERP (?) A FANTASTICAL MOONLIT LANDSCAPE WITH ST. CHRISTOPHER CARRYING THE CHRIST CHILD ACROSS A RIVER oil on oak panel 21.5 by 33.9 cm.; 8 1/2 by 13 3/8 in. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Private collection, eastern France, since at least the first half of the 20th century; Acquired from the above by the present owner in early 2010. After the death of Joachim Patinir in 1524 Herri Met de Bles became the undisputed master of the new genre of landscape painting in the southern Netherlands and would make for himself a lasting reputation that spread as far as Prague where Rudolph II owned several of his works. He was both talented in the depiction of the minutest detail of his ‘world landscapes’’’’ and possessed an imagination that set his landscapes above those of his peers. He eschewed Patinir’’’’s structured compostions in favour of more chaotic, spectacular worlds of his imagination. This small panel combines all of the elements on which Herri’’’’s reputation rests. It is a highly unusual moonlit landscape, the full moon illuminating all before it from just above the horizon to the left. Those areas in the light’’’’s path are painted with an extraordinary level of detail, particularly the city and shoreline to the right. In the centre Herri has placed a large rock in silhouette, its opacity accentuated by the brightness of the landscape that shines through the peculiarly eroded tunnels at its base. It is a partly anthropomorphic formation, something that we see in varying forms throughout Herri’’’’s œuvre but perhaps most clearly in the panel of a similar size depicting St Peter walking on water in the Kisters collection, Kreuzlingen. Above the rock stars twinkle in the darkness of the night sky, as St. Christopher and the Christ child make their way across the river to the safety of the shore where a monk holds out a lantern to aid their arrival. In the use of long, vertical brushstrokes St. Christopher is painted in the style that distinguishes Herri's figures from those of others and may be closely compared to the figures on the road to Emmaus in the two panels of the same name in the Museum Mayer van den Bergh, Antwerp, and the Kunsthalle, Hamburg, or those in his Road to Calvary in a Brussels private collection. 2 His trees are equally distinctive in the tiny pinpricks that delineate the leaves catching the light, a technique that he has re-employed in the unusually vivacious water for the crests of the waves which we see again in the Kreuzlingen St. Peter. There is possibly an owl in the small cavity in the rock, above and to the right of the little hut reached by ladder. Much has been made of the owls that feature in many of Herri's works and they are often considered his 'signature', as they were by Van Mander – indeed in Italy, where his works were popular, he was nicknamed 'Civetta' in response to this. A related panel by Herri, also a moonlit scene with St. Christopher, is in Palazzo Colonna, Rome, and has recently been published for the first time. 3 The composition is clearly related though the rock is somewhat less anthropomorphised. It is however of precisely the same dimensions and incorporates many of the same motifs.
Herri Met De Bles - The Penitent Mary Magdalen In A Cave Of La Sainte-baume

Herri Met De Bles - The Penitent Mary Magdalen In A Cave Of La Sainte-baume

Original
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Gross Price
Lot number: 25
Other WORKS AT AUCTION
Description:
Herri met de Bles (Dinant c. 1510-after 1550 Antwerp) The Penitent Mary Magdalen in a cave of La Sainte-Baume oil on panel, laid down on panel 22.5 x 29 cm. Dr. Alfons Jaffé, Berlin and Leiden; Seized by the 'Diensstelle Mühlmann' following the Occupation of The Netherlands, after May 1940; Acquired for the 'Sonderauftrag Linz' (No. 1835); Recovered by the Western Allies, Munich Central Collecting Point, 10 July 1945 (MCCP no. 3613); Transferred to the Stichting Nederlands Kunstbezit, The Netherlands, 15 February 1946 (Inv. no. G43) Restituted to Dr. Alfons Jaffé, Oxford, February 1948. Hans A. Wetzlar, Amsterdam, by 1952. with Kunsthandel P. de Boer, Amsterdam, by 1955. Private Collection, U.S.A.Rwith J. Kraus, Paris/London, by 1980. with K. Waterman, Amsterdam, by 1981, where acquired by the present owner. M.J. Friedländer, Collection Dr. H. Wetzlar, Amsterdam, 1952, p. 9, no. 8. E. Buijsen, 'Notes on two new views of "La Sainte-Baume" by Henri met de Bles', in The Rutgers Art Review, 1986, VII, pp. 55-61, fig. 2, as Attributed to Henri met de Bles. M.J. Friedländer, Early Netherlandish Painting, XIII, Leiden, 1975, no. 100. Berlin, Galerie Dr. Gottschewski Dr. Schaäfer, Das Flämische Landschaftsbild des 16. und 17. Jahrhunderts, 6-30 November 1927, p. 10, no. 9. Amsterdam and Munich (Bayerisches Hof), K. & V. Waterman, Niederländische Meisterwerke des 17. Jahrhunderts, 18 April-1 May 1981, p. 72. Surprisingly little is known about the life of Herri met de Bles. He is generally identified as the "Herry de Patinir" who was registered as a master of the Antwerp Guild of Saint Luke in 1535, and who may have been the nephew of Joachim Patinir. Unquestionably, these two artists were at the forefront of the newly-emerging genre of landscape painting in the southern Netherlands, and following Joachim Patinir's death in 1524, Herri became the genre's leading and most prolific practitioner. While the two painters worked in similar styles, Herri met de Bles eschewed Patinir's structured, planar compositions in favor of more chaotic, spectacular constructions. Herri's mountains rise more naturally from the plains below and his background landscapes are much more atmospheric; subtle cool blues and blue-whites often veil the distant prospect, contrasting with the warm greens of the foliage in the foreground. Herri's mountains are usually painted in soft tones ranging from pinks to brownish purples, while his pictures teem with the myriad details of life. Herri met de Bles appears to have enjoyed considerable fame in Italy, where he was known as "Civetta" due to the little owl that frequently appears in his paintings. It is important to note, however, that not all of Herri's paintings contain an owl, nor does the mere presence of an owl indicate his authorship of a given landscape. In 1986, Edwin Buijsen identified the majestic rock formation that dominates the present panel as a representation of La Sainte-Baume, where according to legend Mary Magdalene lived for thirty years in penance for the sins that she committed before her conversion (op. cit.). This vista was a favored subject in the southern Netherlands (see R. Kock, 'La Sainte-Baume in Flemish Landscape Painting of the 16th Century', in Gazette des Beaux-Arts, LXVI, 1965, pp. 273-282), and was often paired with representations of the Magdalene in ecstasy, as in the present example. According to legend, after Christ's Passion, Mary Magdalene travelled to France via Marseilles, eventually retreating to a grotto in the wilderness near Aix-en-Provence. Each day, angels would carry her up into heaven, where she was greeted and nourished by the chanting of the celestial hosts. During the Middle Ages, La Sainte-Baume and the Magdalene's grave in St. Maximin - a village near the mountain where it was believed that she died and was buried - both became popular pilgrimage sites, particularly for Flemish travelers. As Buijsen observed, the present painting relates to a Mountain landscape with La Sainte-Baume and the Ecstasy of Mary Magdalene in the Kunsthaus, Zurich, that was probably painted by a member of Joachim Patinir's workshop after a lost prototype by the master himself (Ruzicka-Stiftung, no. 24; see E. Buijsen, op. cit., fig. 3). The most detailed and accurate view of the holy site appears in the background of a wing with the Ecstasy of Mary Magdalene from a triptych attributed to the Master of 1518 in the Royal Museums of Fine Arts of Belgium, Brussels. This earlier view appears to have been based on firsthand observation, and may have been the primary source for representations of La Sainte-Baume in the southern Netherlands. Notably, although the views by Patinir and Met de Bles do not correspond exactly with the topography of the actual site, key identifying elements are retained, such as the winding path leading to the plateau, the steep mountainside, the small chapel of St. Pilon at the mountaintop, and the vertical "chimney-like" rock formations on the left side of the mountain. While in reality, La Sainte-Baume is part of a larger mountain range, Patinir and Met de Bles chose to represent it in isolation, rising sharply against the horizon. Herri met de Bles presumably knew Patinir's version, as many details correspond almost exactly, such as the winding path, the wooden footbridge in the foreground, the shed in the middle ground and the buildings on the plateau. Of course, the presence of the Magdalene recumbent in the grotto in the foreground of the present panel would assist the contemporary viewer in identifying the view in the background as La Sainte-Baume. Moreover, as Buijsen observed, the smaller figures that populate the painting may also correspond to events in the life of Mary Magdalene (op. cit., p. 60). Specifically, the old, bearded pilgrim who is led toward the bridge in the foreground by a boy dressed in red, refers to an anecdote from the Golden Legend that describes how a blind man embarked on a pilgrimage to see the Magdalene's relics at Vzelay, where they had been transferred during the time of Charlemagne. When his guide informed him that the church could be seen in the distance, the old man cried out "O holy Mary Magdalene, if only I could sometime be worthy to see your church!" Immediately, his vision was miraculously restored to him. Luc Serck has confirmed the attribution to Herri met de Bles upon firsthand inspection of the panel, noting in particular the characteristic treatment of the delicate foliage in the foreground as well as typical appearance of the underdrawing, which is now visible beneath the pigments of the mountain (written communication, dated 14 March 2011, in the possession of the owner).
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