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Quentin Metsys

(Leuven 1466 -  Kiel 1530 ) Wikipedia® : Quentin Metsys
METSYS Quentin An Allegory Of Folly

Jan 27, 2009
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Variants on Artist's name :

Massys Quentin


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Fransde Vrient I Floris, Antonis Mor, Girolamo Del Pacchia, Francesco Vittore Di Bissolo
Artworks in Arcadja

Some works of Quentin Metsys

Extracted between 111 works in the catalog of Arcadja
Quentin Metsys - An Allegory Of Folly

Quentin Metsys - An Allegory Of Folly



Gross Price
Lot number: 66
Quentin Massys (Leuven 1466-1530 Kiel)
An Allegory of Folly
inscribed 'Mot./Mondeken/toe.' (upper left)
oil on panel
23¾ x 18¾ in. (60.3 x 47.6 cm.)
Norah Smith, Montreal, 1938 as 'Pieter Brueghel'.
F.F. Sherman, in Art in America, vol. 27, July 1939, p. 147,illustrated, under 'Recent additions to American PrivateCollections'.
Art News Annual, vol. 37, no. 22, 1939, p. 56, illustrated.
M.L. Wilson, The Tragedy of Hamlet Told by Horatio, Enschede, 1956,pp. 621-22, fig. 83.
E. Tietze-Conrat, Dwarfs and Jesters in Art, London, 1957, pp. 19,94, fig. 21.
C.A. Wertheim Aumes, Hieronymous Bosch, Holland, 1961.
W. Willeford, The Fool and His Scepter, Evanston, 1969, pp. 6, 29,pl. 2.
L.A. Silver, Quentin Massys (1466-1530), Ph.D. diss., HarvardUniversity, 1974, pp. 214-15, 355-56.
A. de Bosque, Quentin Metsys, 1975, p. 196, no. 242,illustrated.
S. Poley, Unter de Maske des Narren, Stuttgart, 1981, p. 47, fig.39.
L.A. Silver, The Paintings of Quinten Massys with CatalogueRaisonné, Montclair, 1984, pp.146-147, 192, 227-228, no.44, plate135.
C. Gaignebet et al, Art profane et religion populaire au moyen age,Paris, 1985, p. 189.
Görel Cavalli-Bjorkman, 'The Laughing Jester', NationalmuseumBulletin, Stockholm, IX, 1985, no. 2, p. 106, fig. 7.
S. Evans, Ben Jonson, PhD diss., University of Kansas, 1991.
P. Lampert, Chronik der Bad Homburger Fastnacht, 1998, p.100.
M. Slowinski, Blazen, Poznán, cover illustration.
Worcester, Worcester Art Museum, The Worcester-PhiladelphiaExhibition of Flemish Painting, 23 February - 12 March 1939.
Philadelphia, J.G. Johnson Collection at the Philadelphia Museum ofArt, 25 March - 26 April 1939, no. 45.
Grand Rapids, Grand Rapids Art Gallery, Masterpieces of Dutch Art,7-30 May 1940, no. 45.
Indianapolis, John Herron Art Museum, Holbein and HisContemporaries, 22 October - 24 December 1950, no. 50.
Poughkeepsie, Vassar College Art Gallery, Sixteenth CenturyPaintings from American Collections, 16 October - 15 November 1964,no. 8.
Northampton, Smith College Museum of Art, Paintings and Sculpturefrom the Collection of Mr. and Mrs. Julius S. Held, 1-27 October1968, no. 33.
Lot Notes
In the early sixteenth century when Massys painted his Allegoryof Folly, likely around 1510, fools were still commonly found atcourt or carnivals, performing in morality plays. Sometimes a foolwould be mentally handicapped, to be mocked for the amusement ofthe general public. Massys has chosen to represent his fool with awen, a lump on the forehead, which was believed to contain a "stoneof folly" responsible for stupidity or mental handicap. In otherinstances, however, the fool would be a clever and astute observerof human nature, a comedian who used the fool's robes as a pretextfor satire and ridicule. Massys's fool was nearly an exactcontemporary of Erasmus' Praise of Folly, in which the character ofFolly is in fact a wise and astute commentator on folly in others.Fools were a popular subject in both the art and literature of thisera and Erasmus' work was particularly important to thesixteenth-century Humanist circles in Antwerp.
The traditional costume of the fool includes a hooded cape with thehead of a cock and the ears of an ass, as well as bells, hereattached to a red belt. The fool holds a staff known as a marotte,or bauble, topped with a small carved figure of another fool -himself wearing the identifying cap. This staff would have beenused as a puppet for satirical skits or plays, and the figure'sobscene gesture of dropping his trousers, symbolic of the insultsassociated with fools, was once overpainted by a previous owner whofound it overly shocking.
The gesture of silence, with the fool holding a finger to his lips,refers to the Greek god of silence, Harpocrates, who was generallydepicted in this manner. Silence was considered a virtue associatedwith wise men such as philosophers, scholars, or monks. Here,however, Massys turns the gesture into a parody by juxtaposing itwith the inscription 'Mondeken toe', meaning 'keep your mouthshut', beneath the crowing cock's head. Massys is drawing ourattention to the Fool's indiscretion. A later hand has added theword 'Mot' above, likely a later sixteenth or seventeenth centuryreference to a prostitute - this may have been an attempt to turnthe present allegory into the figure of a procuress.
Massys' fool is made even more grotesque by his hideous deformities- an exaggerated, beaked nose and hunched back - and thin-lipped,toothless smirk. Grotesque figures were a favourite theme of theartist, making regular appearances in his paintings as tormentersof Christ or in allegories of Unequal Lovers. This reflects anawareness of the grotesque head studies of Leonardo da Vinci, whosedrawings had made their way northward from Italy. Indeed, of allMassys's other works, the fool in the present painting is perhapsclosest in type to the tormenter directly behind and to the rightof Christ in the Saint John Altarpiece - which is, itself, a directquotation from Leonardo's own drawing of Five GrotesqueHeads.
Quinten Massys' early training is a matter of speculation, withscholars suggesting variously that he may have been apprenticed inAntwerp to Dieric Bouts; trained as a miniaturist in his mother'snative town of Grobbendonk; or possibly worked for Hans Memling'sstudio in Bruges. We do know for certain that in 1494, Massys wasadmitted to the Antwerp Guild of Saint Luke as a master painter,and by the end of the century he was operating his own studio withseveral apprentices, among them his sons Cornelis and Jan. Massysis known for both religious and secular works, and his style becameincreasingly Italianate in his later career; in turn he isrecognized as an influence on such painters as Joos van Cleve,Joachim Patinir and Lucas Cranach the Elder.
Quentin Metsys - Christ, Bust Length

Quentin Metsys - Christ, Bust Length



Gross Price
Lot number: 6
oil on panel
Mechelen, Margareta van Oostenrijk en haar Hof, July 26
- September 15, 1958, p. 7, no. 57 (as attributed to Quinten
Massys); Toledo, Palacio de Fuensalido, Pintura Flamenca de Tiempos de
Carlios V, May - June 1969, pp. 72-3, no. 26, reproduced (as
Quinten Massys); Mechelen, Van Karel de Stoute tot Keizer Karel, 1973, no.
351 (as Quinten Massys).
From a photograph, Dr. Larry Silver, the author of the 1984
monograph on Massys, considers Christ, bust length, to be
an autograph work by Quinten, although he does not rule out the
possibility of some studio participation. We are grateful to Dr.
Silver for his assistance. The present painting combines elements from two of Quinten Massys'
bust length representations of Christ - Christ Blessing, in
the Prado Museum, Madrid (see fig. 1), and Salvator Mundi, in the Koninklijk Museum, Antwerp (see fig. 2). Although the
present work was previously considered a variant of the Prado
picture, Dr. Silver has suggested that this Christ may in
fact pre-date the Prado version. In both, Christ is represented
bust length, He is turned towards the left, and His collar is
embroidered with authentic Hebrew letters, which read, Jesus
Son of Mary (?). (The last word is difficult to be certain of
because of the idiosyncrasies of Hebrew writing.) Massys' attempt
in both pictures to include accurate Hebrew inscriptions is
extremely unusual in Netherlandish art of this period. As no
ordinary person in the 16th century read Hebrew, it is likely that
the artist consulted a scholar to help him. The gold rays of the
halo that emanate from Christ's head and the dark blue background
link the present painting to the earlier Salvator
Mundi. In all three, the artist's work is evident in the subtle modeling
of the flesh tones, which recalls Leonardo's sfumato, in the
characteristic facial structure of Christ, in the fine brushstroke,
and in the serenity and mysticism that characterize so many of
Quinten Massys' religious paintings.
Quentin Metsys - Portrait Of Gentleman, Bust-length, In A Fur-lined Coat, Telling A Rosary, Set In An Architectural Surround

Quentin Metsys - Portrait Of Gentleman, Bust-length, In A Fur-lined Coat, Telling A Rosary, Set In An Architectural Surround



Gross Price
Lot number: 29
Quentin Metsys (Leuven 1466-1530 Kiel, near Antwerp)
Portrait of gentleman, bust-length, in a fur-lined coat, telling a rosary, set in an architectural surround
oil on panel
19 x 16½ in. (48.2 x 41.9 cm.)
The artist Franz Seraph von Lenbach (1836-1904), Munich, by 1901 when exhibited.
Consul H.C. Bodmer, Zurich.
Mrs. H. von Schulthess-Bodmer, Schloss Au, Switzerland (see fig. 1), and by descent.
M.J. Friedländer, 'Repertorium für Kunstwissenschaft', review of
Ausstellung von Meisterwerken der Renaissance, etc., 24, 1901, p. 323.
M.J. Friedänder,
Altniederländische Malerei, XIV,
Pieter Bruegel und Nachträge zu den Früheren Bänden, Berlin, 1937, p. 109, under Metsys.
H.B. Wehle and M. Salinger,
Metropolitan Museum of Art. A Catalogue of Early Flemish, Dutch and German Paintings, New York, 1947, pp. 107-8, under no. 32.100.47.
M.J. Friedländer,
Early Netherlandish Painting, VII,
Quentin Massys, comments and notes by H. Pauwels, trans. H. Norden, Leiden and Brussels, 1971, suppl. 169, p. 81, pl. 49.
A. de Bosque,
Quentin Metsys, Brussels, 1975, p. 237, under no. III.303.
L. Silver,
The Paintings of Quentin Massys with Catalogue Raisonné, Oxford, 1984, pp. 164, 221 under no. 32, p. 237, no. 60B.
L. Campbell,
Renaissance Portraits. European Portrait-Painting in the 14th, 15th and 16th Centuries, New Haven, 1990, pp. 34-6, fig. 43, under fig. 44.
V. Sintobin, catalogue of the exhibition,
From Van Eyck to Bruegel Early Netherlandish Painting in the Metropolitan Museum of Art, New York, 1998, pp. 187-8, under no. 38.
Munich, Kunstausstellungsgebäude am Königsplatz,
Ausstellung von Meisterwerken der Renaissance aus Privatbesitz, 3 June-30 September 1901, no. 62, as 'Niederländisch oder niederrheinisch (um 1500)'.
New York, Metropolitan Museum of Art,
From Van Eyck to Bruegel. Early Netherlandish Painting in the Metropolitan Museum of Art, 14 September 1998-3 January 1999, with no. 38.
Quentin Metsys - On Golgatha

Quentin Metsys - On Golgatha



Net Price
Lot number: 748
On Golgatha. Oil on canvas. Relined. 85 x 60cm. Framed. On the original canvas an old gummed label with specifications on
the provenance could be found which is partially kept as enclosure
to the painting as well as a photo-document attached to the reverse
of the stretcher: This painting used to be in the possession of Mister Christian
Tänzel Freiher von Tratzberg, (...) Father Joseph(from the
Piarists) in Kempten, Professor Haggenmüller(...)Kempten, Johann
Leichtle Privatier in Kempten+ 1887 (...) A similar and exemplary work of Quentin Massys the Elder can be
found in the National Gallery of Canada in Ottawa.
Quentin Metsys -  Pietà

Quentin Metsys - Pietà

Original 4705
Starting price:

Price: Not disclosed
Lot number: 692
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