No VAT will be charged on the hammer price, but VAT payable at 19.6% (5.5% for books) will be added to the buyer’s premium which is invoiced on a VAT inclusive basis
Baron van Brecken, Allemagne, acquis par
Michael van Gelder, Uccle, Bruxelles, avant 1920.
William van Gelder; Vente, Christie's, Londres, 14 mai 1971, lots 82 et 83 (invendus).
Galerie Alain Tarica, Paris; d'où acquis en 1988 par
Yves Saint Laurent et Pierre Bergé.
G. Ring, 'Pierre des Mares', in Jahrbuch für Kunstwissenschaft, 1924-1925, pp. 110-115, figs 11 et 12.
F. Winckler, Thieme-Becker, Lexikon der Bildender Künstler, vol XXIV, Leipzig, 1930, p. 86.
Post Lot Text
German school, early 16th century, formerly identified as by Pierre Des Mares
The birth and The beheading of Saint John the Baptist
oil on panel, a pair
Similar to a Crucifixion tryptich that dates from 1517 and is currently at the Pinakothek in Munich, these paintings depict the life of Saint Maurice. On one of the panels of this work, the inscription 'DES MARES/PIERRE.1517' can be seen on the hem of the robe worn by one of the figures.
In 1907, Max Friedländer attributed this picture to Pierre Des Mares on the basis of the inscription; however, this French-sounding name most probably corresponds to the person who commissioned the work rather than the artist, of whom very little is known. Working in Cologne in the early sixteenth century, the artist was a close follower of the local pictorial tradition. Like the present pair, the panels in Munich include a scene of a beheading. Works by the same master using similar-sized panels include two episodes from the Life of Saint Catherine - Saint Catherine refusing to sacrifice to the gods and The beheading of Saint Catherine - Stadtmuseum (Gemäldegalerie) in Berlin (fig.1 and 2)
All of these panels are very close in style and iconography. They are clearly the work of a follower of the young Master of the Holy Family and are akin to the style of the Master of the Aachen Altarpiece, who was working as an artist in Cologne during the 1510s and 1520s.
We are grateful to Mr Stephan Kemperdick for his precious help in the preparation of the catalogue note.