Georg Flegel

Germany (15631638 ) - Artworks Wikipedia® - Georg Flegel
FLEGEL Georg Artichokes And Peas In The Pod In A Basket, A Joint Of Pork, Grapes, Onions And Cucumbers On A Platter, A Roemer And A Crayfish On A Pewter Dish, With A Pewter Flagon, An Ornate Knife, A Bread Roll, Plums, Peaches And Almonds On A Wooden Table

Christie's /Jul 11, 2001
329,055.63 - 493,583.44
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Artworks in Arcadja
48

Some works of Georg Flegel

Extracted between 48 works in the catalog of Arcadja
Georg Flegel - Blumenstrauss In Manieristischer Vase Blumensstrauss In Glasvase

Georg Flegel - Blumenstrauss In Manieristischer Vase Blumensstrauss In Glasvase

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Lot number: 1225
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GEORG FLEGEL (1566 Olmütz - 1638 Frankfurt/Main) BLUMENSTRAUSS IN MANIERISTISCHER VASE BLUMENSSTRAUSS IN GLASVASE Öl auf Kupfer. Jeweils 24 x 17 cm. Provenienz Auktion Sotheby's, London, 11.12.1974, Lot 28 (als Ambrosius Brueghel). - Kunsthandlung H.Terry-Engell, London. - Sammlung Anne Wertheimer, Paris. - Deutsche Privatsammlung. Ausstellungen "Stilleben in Europa", Münster u. Baden-Baden 1979/80, Nr. 169 u. 170. Literatur Ingvar Bergström: Georg Flegel als Meister des Blumenstücks. In: Westfalen 55, 1977, S. 135-46, S. 141ff, Abb. 98a u. 98b, S. 146. - Ausst.-Kat. "Stilleben in Europa", Westfälisches Landesmuseum für Kunst und Kulturgeschichte Münster u. Staatliche Kunsthalle Baden-Baden 1979/80, Münster 1979, S. 559, Nr. 169 u. 170, Farbabb. S. 325. - Alberta Veca: Parádeisos. Dall'universo del fiore, Ausst.-Kat. Galleria Lorenzelli, Bergamo 1982, Abb. 166 u. 161. - Sam Segal: Georg Flegel as flower painter, in: Tableau 7 (Nr. 3), 1984, S. 73-86, S. 76f. - Hana Seifertová: Georg Flegel, Prag 1991, S. 68, Farbabb. 36, S. 65 (nur Blumenstrauß in manieristischer Vase) . - Ausst.-Kat. "Georg Flegel 1566-1638. Stillleben", Historisches Museum Frankfurt a. M. 1993, Neuauflage hg. v. Kurt Wettengl, Stuttgart 1999, S. 301, Nr. 61 u. 62, Abb. 67, S. 175. - Anne-Dore Ketelsen-Volkhardt: Georg Flegel 1566-1638, München u. Berlin 2003, S. 267-70, Nr. 63 u. 62, Abb. 88 u. 87, S. 268-9. Als die beiden vorliegenden Stillleben 1974 in einer Auktion bei Sotheby's in London auftauchten, wurden sie dort zunächst Ambrosius Brueghel zugeschrieben. Drei Jahre später publizierte Ingvar Bergström die Gemälde in einem Aufsatz und wies sie dem Oeuvre Georg Flegels zu (Bergström 1977, a.a.O., S. 141). In der Forschung wurde die Autorschaft Flegels seitdem ohne Einschränkungen bestätigt, sowohl von Sam Segal und Hana Seifertová als auch von Kurt Wettengl und Anne-Dore Ketelsen-Volkhardt. Diskutiert wurde lediglich die Datierung der beiden Gemälde. Während Bergström eine Entstehung zwischen 1605 und 1610 vorschlug, datierte Segal die beiden Pendants um 1630 und Ketelsen-Volkhardt in die Spätphase des Künstlers um oder nach 1630, für die die drangvolle Enge der Komposition typisch sei. Bergström charakterisierte die beiden Stillleben „als vollkommen erhalten in ihrer ursprünglichen, juwelenhaften Gestalt“ (Bergström 1977, a.a.O.) sowie als in ihrer „juwelenhaften Perfektion typisch für Flegel.“ (Auss.-Kat. 1979/80, a.a.O., S. 559). Das erste Gemälde mit der vergoldeten, manieristischen Vase weist viele unterschiedliche Blumen auf, darunter Schwertlilien, Hyazinthen, Schachblumen und Narzissen. Dagegen konzentriert sich das Pendant mit der Glasvase ausschließlich auf Nelken, von denen jedoch verschiedene Sorten wiedergegeben werden. Um die Vasen sind in beiden Gegenstücken zahlreiche Früchte und Tiere platziert. Anne-Dore Ketelsen-Volkhardt hat darauf hingewiesen, dass sich die Kleinteiligkeit der mit Schilden und Sirenen dekorierten Metallvase des ersten Stilllebens in der Fülle kleiner Früchte und Tiere widerspiegelt, während die kugelige Glasvase des zweiten Bildes ihre Parallelen in den größeren, runden Formen der Pfirsiche und roten Weintrauben findet. Die um den Fuß der beiden Vasen angeordneten Früchte und Tiere gehören teilweise zum festen Motivrepertoire Flegels und lassen sich in anderen Gemälden des Meisters wiederfinden. Erwähnt sei hier beispielhaft die Schnecke, die in einem Blumenstillleben in englischem Privatbesitz wieder auftaucht (vgl. Ketelsen-Volkhardt, a.a.O., Nr. 61, Abb. 86, S. 266). Für einzelne Blumen der beiden Gegenstücke konnte Bergström Vorbilder in den im Berliner Kupferstichkabinett aufbewahrten Aquarellen Georg Flegels nachweisen. Die Künstlerpersönlichkeit Flegels skizzierte Ingvar Bergström im Katalog der bedeutenden Stilllebenausstellung in Münster und Baden-Baden wie folgt: „Georg Flegel (1566-1638) ist einer der wirklich bedeutenden europäischen Maler von Blumenstücken seiner Zeit […]“ (Ausst.-Kat. 1979/80, a.a.O., S. 559). When the present two still lives appeared in a Sotheby's auction in London in 1974, they were originally attributed to Ambrosius Brueghel. Three years later Ingvar Bergström published the paintings in an article and assigned them to the work of Georg Flegel (Bergström 1977, loc. cit., p. 141). Research since has confirmed Flegel's authorship, both from Sam Segal and Hana Seifertová as well as Kurt Wettengel and Anne-Dore Ketelsen-Volkhardt. Only the dating of both paintings has been discussed. Whilst Bergström suggested a date of between 1605 and 1610 and Segal dated both to around 1630, Ketelsen-Volkhardt placed them to a later period of the artist, to after 1630, for which the constricted, close composition is typical. Bergström characterised both still lives as 'perfectly preserved in their original, jewel-like form' (Bergström 1977, loc. cit.) as well as in their 'jewel-like perfection, typical for Flegel', (exhibition catalogue 1979/80, loc. cit., p. 559). The first painting with the gilded, Mannerist vase displays many different flowers, including irises, hyacinths, fritillaries and daffodils. In contrast, its pendant contains exclusively carnations of various types. Around both vases are numerous fruits and animals. Anne-Dore Ketelsen-Volkhardt pointed out that the smaller fruits and animals of the first still life reflects the small details of the metal vase decorated with shields and sirens, whilst parallels can be found between the rounded glass vase of the second picture and the larger, rounded forms of the peaches and red grapes. The fruits and animals at the foot of both vases belong partly to Flegel's standard motif repertoire, and can be found in other paintings by this master. For example the snail features in a flower still life, in an English private collection (compare Ketelsen-Volkhardt, loc. cit., no. 61, ill. 86, p. 266). For individual flowers in both works, Bergström found examples amongst Gerorg Flegel's watercolours kept in the Berlin Museum of Prints and Drawings. The artistic personality of Flegel was sketched by Ingvar Bergström in the catalogue of the important stlll life exhibition in Münster and Baden-Baden as follows: 'Georg Flegel (1566-1638) is one of the most important European painters of flower pieces of his time (...)' (exhibition cat. 1979/80, loc. cit., p. 559).
Georg Flegel - A Market Stand Selling Pears, Cherries, Peas, Leeks And Lettuce,with Two Elegantly-dressed Children, A View Of A Frankfurtbeyond

Georg Flegel - A Market Stand Selling Pears, Cherries, Peas, Leeks And Lettuce,with Two Elegantly-dressed Children, A View Of A Frankfurtbeyond

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Lot number: 168
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Georg Flegel (Olmütz 1566-1638 Frankfurt am Main) and Workshopof Lucas van Valckenborch I (Leuven 1535/45-1597 Frankfurt amMain) A market stand selling pears, cherries, peas, leeks and lettuce,with two elegantly-dressed children, a view of a Frankfurtbeyond oil on canvas 32 3/8 x 47 in. (82.2 x 119.4 cm.) with the art trade, Frankfurt am Main, 1984. S. Segal, 'Georg Flegel as a flower painter', Tableau, VII,1984, p. 74, fig. 2. A. Wied, Lucas und Marten van Valckenborch: Das Gesamtwerk mitKritischem Oeuvrekatalog, Düsseldorf, 1990, pp. 36 and 189, no. 97,fig. 26. A. Wied in K. Wettengl, ed., Georg Flegel, 1566-1638: Stilleben,exhibition catalogue, Historisches Museum, Frankfurt am Main, 1993,pp. 38-9, fig. 31. The view of Frankfurt in the background seems to show a part ofthe city not far from the historic Römer, the town hall ofFrankfurt, with the Steinernes Haus, the Justitiabrunnen and theBrückenturm.
Georg Flegel - Irises, Tulips, Anemone, Snake's Head Fritillaria

Georg Flegel - Irises, Tulips, Anemone, Snake's Head Fritillaria

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Lot number: 48
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Lot Description Georg Flegel (Olmütz, Moravia 1566-1638 Frankfurt am Main) Irises, tulips, anemone, snake's head fritillaria, lilies, columbine, narcissus, carnations, turk's cap lilies, violets, rosemary, bellflowers, jonquils, a pink rose, a red peony, a chrysanthemum, foxglove, clematis, snapdragons and other flowers in a decorated pewter jug with a black and red striped beetle, on a ledge in a stone niche with a cylindrical glass goblet of white wine, a sliced roll, cherries, a stag beetle and a knife. signed with monogram 'GF' (linked) (on the edge of the niche lower right) oil on canvas 24½ x 17¾ in. (62.2 x 45 cm.) PROPERTY FROM THE NEW YORK RESIDENCE OF JOHN W. KLUGE Provenance Joseph V. Reed. Anonymous sale; Christie's, New York, 10 January 1990, lot 214 (for $1,980,000). with Richard Green, London, by whom sold to the present owner. Literature A. Wertheimer, La Nature Morte et son Inspiration, exhibition catalogue, Paris, 1960, no. 20, illustrated. H. Seifertová, 'Stilleben Georg Flegels, Themen, Kompositionen, Bedeutungen', in George Flegel- Stilleben, Stuttgart, 1993, p. 64, fig. 37. George Flegel was born in Olmütz (Olomouc), Moravia, the son of a shoemaker, and not being a Roman Catholic, probably moved to Vienna after 1580, when the Counter-Reformation began to take effect in Olmütz. In Vienna he became the assistant of Lucas van Valckenborch the Elder, whom he subsequently followed to Frankfurt, then an important centre for art dealing and publishing. He provided staffage in Valckenborch's paintings of the seasons and portraits, inserting fruit, table utensils and flowers as still-life set pieces. His faithful reproduction of flowers and fruit drew on watercolors by Dürer, still-life painters from the Netherlands living in Frankfurt, and botanical and zoological illustrations by Joris Hoefnagel, Pieter van der Borcht IV and Carolus Clusius. Hoefnagel's illustrations clearly served as the pattern for artists such as Flegel, and led to the earliest pure still lifes being produced in cities such as Prague, Florence, Antwerp and Frankfurt, all of which were centers of scientific study and publishing. Between around 1600 and 1627-30 Flegel produced 110 watercolors (Kupferstichkabinet, Berlin; 31 destroyed, 1943-4) depicting flowers, fruit and animals, and one Self-portrait (1630; destroyed; see fig. 1 for an engraved portrait of the artist by Sebastian Furck, circa 1600-55, now in the Historisches Museum, Frankfurt, inv. no. c14036). A two-sided painting for a cupboard with trompe-l'oeil still-lifes (National Gallery, Prague) dates from circa 1610. From 1611 he worked on pictures of tables set for meals, for example the Meal with Bunch of Flowers (1630; Staatsgalerie, Stuttgart) and Evening Meal (1637; Historische Museum, Frankfurt-am-Main). Depicted with precise factual accuracy, free brushwork and a sometimes artistic use of lighting effects, these are quite distinct from contemporary Dutch and Flemish still-lifes in their static and unornamented presentation. Of Flegel's many still-lifes, only those between 1635 and 1638 are dated (Wallraf-Richartz-Museum, Cologne; Städdelische, Kunstinstitute, Frankfurt-am-Main; and National Gallery, Prague). His sons Friedrich (1597-1616) and Jacob (d. 1623) were his pupils (none of their work has survived), as was Jacob Marrel in 1627, who was later to form an important link between the two great early centers of flower painting in Utrecht and Frankfurt and an integral link between the legacy of the Bosschaert dynasty on the one hand and the Flemish tradition of de Heem and Seghers on the other. Around 1610, the earliest proponents of the table still life emerged in Haarlem and Antwerp, including Nicolaes Gillis (c. 1575-after 1632) and Floris van Dijk (c. 1575-1651), who was actually employed in the workshop of the Cavaliere d'Arpino in Rome circa 1600. Although Caravaggio had long since quarreled with d'Arpino and moved on, van Dijk must have at least come into contact with Caravaggio's work and those of his followers, and one can see in his work (for example, his Still life with cheese in the Rijksmuseum, Amsterdam) that he must have absorbed the lessons of early Roman still-life painting, namely a concentration on larger forms and structure combined with a sense of light and shade with careful modeling of different textures, thus becoming one of the first exponents of Caravaggism in the North. These innovations in Antwerp and Haarlem were quickly absorbed by the Frankfurt-Hannau school, not least because there was close contact between the two cities. Daniel Soreau, for example, who was the teacher of Peter Binoit and Isaak Soreau (d.1619) had come to Frankfurt from Antwerp in 1586. Given these ties it is not surprising that there are similarities between the work of Flegel and Osias Beert, and between Isaak Soreau's bowls of fruit and those of Jacob van Hulsdonck. In Flegel's work one often finds foodstuffs and serving pieces that are particular to Frankfurt, but he increases substantially the repertoire of picture types established in the Netherlands, including inventing so-called 'cupboard' or niche still lifes, with a particular emphasis on trompe l'oeil motifs (for example, his Cupboard picture with flowers, fruit and goblets of circa 1610 in the National Gallery, Prague, which is reminiscent of Roman paintings of wall cupboards). In these paintings, even when they depict the living standards of the well-to-do, they seem to evoke a simple way of life, suggested by simple pleasures. These had the added advantage of being pleasing to God, as suggested by the bread, wine cherries and flowers in the present painting. In the present work, a masterpiece by Flegel, and probably datable to shortly after 1610, his precise and descriptive manner of composing the floral still life certainly reflects the early seventeenth century interest in the scientific observation and classification of plants and flowers. However, the symbolism of this works goes beyond mere description and may be understood as comprising references to abundance, transience, and the Resurrection of Christ. A single iris crowns the composition and its form illustrates why this flower was considered an emblem of Christ, the Trinity, and redemption. The blue in this instance is also perhaps a reference to heaven. Other species in this bouquet may also be explained in this religious context and the rosemary twigs were considered an emblem of permanence and frequently found among the decorations at burials and weddings. The still life beneath the bouquet has further meaning. Symbolically, cherries were associated with heavenly food, Spring, and the Incarnation of Christ. They were also associated with the Eucharist, as was bread and wine. The clear light that shines through the glass of white wine could also symbolize the light of Christ's Truth and His Divine Incarnation. Apart from the religious interpretation, this type of bouquet also conveys the idea of transience and is a vanitas. This concept is emphasized by the fragility of the flowers, the red and black striped beetle on the pewter jug, the frieze of dancing peasants, the cracks and chips in the stone niche, and the hungry stag-beetle, possibly a symbol of evil, about to devour the freshly cut bread. A second warning may also be contained in the knife with its ivory and ebony handle prominently displayed at a diagonal in the foreground (although it is presumebly also placed as such to give the painting additional depth). The knife refers to the need for temperance. Even in the midst of such apparent abundance it serves as a reminder of measure and moderation. The stag-beetle in the present work recurs in other paintings throughout Flegel's career, for example in the signed and dated Still life with fish and a stag-beetle (1631) in the Wallraf-Richartz Museum, Cologne; and in the signed and dated Still life of birds (1637), sold at Sotheby's, London, 4 July 1990, lot 15 (£335,500=$580,048).
Georg Flegel - Artichokes And Peas In The Pod In A Basket, A Joint Of Pork, Grapes, Onions And Cucumbers On A Platter, A Roemer And A Crayfish On A Pewter Dish, With A Pewter Flagon, An Ornate Knife, A Bread Roll, Plums, Peaches And Almonds On A Wooden Table

Georg Flegel - Artichokes And Peas In The Pod In A Basket, A Joint Of Pork, Grapes, Onions And Cucumbers On A Platter, A Roemer And A Crayfish On A Pewter Dish, With A Pewter Flagon, An Ornate Knife, A Bread Roll, Plums, Peaches And Almonds On A Wooden Table

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Lot number: 50
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Georg Flegel (Olmütz, Moravia 1566-1638 Frankfurt am Main) Artichokes and peas in the pod in a basket, a joint of pork, grapes, onions and cucumbers on a platter, a roemer and a crayfish on a pewter dish, with a pewter flagon, an ornate knife, a bread roll, plums, peaches and almonds on a wooden table with initials 'GF' (lower right) oil on canvas, unframed 19 x 23½ in. (48.5 x 59.5 cm.) Saleroom Notice Please note that this lot is sold framed. Lot Notes This previously unpublished work by Flegel has been accepted as autograph by Dr. Hana Seifertová in a certificate dated 5 May 2001; Dr. Seifertová describes the work as 'eine grundsätzliche Bereicherung von Flegels Werk'. Dated by her to Flegel's early career, the chronology of his oeuvre is, however, hard to establish, and the present composition is extremely similar to the Still life with a preparation for a meal in the Kunstmuseum, Basel, and the Still life with a haunch of veal in the Musées royaux des Beaux-Arts de Belgique, both datable to circa 1620. Several objects within this still life recur in both those works - painted on canvas, with distinct compositional similarities and with very similar measurements to the present picture - including the veal haunch on a plain platter (in the Basel painting and the present work accompanied by a melon, gerkhins, onions and grapes), the roemer of white wine, the bread roll and the crayfish on a pewter plate (accompanied in the other two works by a fish head). The knife, with its chequered grip made from ivory, mother-of-pearl and ebony is of a type - of which a set still survives in the Deutsches Klingenmuseum, Solingen - that Flegel used on more than one occasion, for example in a Still life with Apples (for which see the catalogue of the exhibition, Georg Flegel. Stilleben, K. Wettengl, ed., Frankfurt, Historischen Museums Frankurt am Main, 18 December 1993-13 February 1994, p. 125, no. 39), or the Großes Schauessen in the Alte Pinakothek, Munich. Wettengl (op. cit., p. 118) suggests that the various objects within the still life could hold associations with which the contemporary viewer may have been familiar. For example, the joint was supposed to arouse the passions, whilst the melon and onions could similarly be understood to be signs of desire. It may be rash, however, to attempt to read too much into such works, as the onion was also seen as representing the tears that may follow on from desire, whilst the melon and the gherkin were both referred to in contemporary texts as having the power to calm down a man's desire.
Georg Flegel - Strawberries On A Plate, Walnuts In A Porcelain Bowl, Butter On Aplate, A Loaf Of Bread, A Faon De Venise Wine Glass, A Knife And Afork On A Table

Georg Flegel - Strawberries On A Plate, Walnuts In A Porcelain Bowl, Butter On Aplate, A Loaf Of Bread, A Faon De Venise Wine Glass, A Knife And Afork On A Table

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Lot number: 56
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Strawberries on a Plate, Walnuts in a porcelain Bowl, Butter on aPlate, a Loaf of Bread, a faon de venise Wine Glass, a Knife and aFork on a Table oil on panel Saleroom Notice Please note that the estimate should read £25,000-£35,000. After examining X-rays, Dr. Sam Segal now believes that thestrawberries are in fact original to the picture and painted byFlegel himself. Lot Notes We are grateful to Dr. Sam Segal for confirming the attribution.He believes that the strawberries and leaves are by a laterhand.

LA BIOGRAFIA DI Georg Flegel

FLEGEL Georg , pittore tedesco, nasce a Olmutz nel 1566.Formatosi quasi certamente in Olanda, fu uno dei primi e rari artisti tedeschi che si dedicarono alla natura morta.
Le sue opere si possono trovare a Monaco di Baviera e a Parigi.

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