• Christies auction house James Christie logo

    Sale 12109

    Old Masters

    26 October 2016, New York, Rockefeller Plaza

  • Lot 52

    The Master of the Angrer Portrait (active South Tyrol, early 16th Century)

    Portrait of a gentleman, bust-length

    Price Realised  

    Estimate

    The Master of the Angrer Portrait (active South Tyrol, early 16th Century)
    Portrait of a gentleman, bust-length
    dated '1512' (upper center)
    oil on panel
    21 3/8 x 14 7/8 in. (54.3 x 37.8 cm.)


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    While the identity of the sitter in this arresting portrait is unknown, several aspects of his pose suggest that it may have been painted to commemorate his wedding. Shown in three-quarter profile, the man focuses intently to the right on a subject beyond the picture’s edge. His connection to the world outside the confines of his portrait is emphasized further by the position of his left hand, which gestures in the same direction, presumably toward the now lost portrait of his bride. The solemnity of his expression is offset by the energetic handling of the golden ringlets that frame his face and soften his angular features. The intense illumination enhances the sculptural qualities of the man’s face, particularly his strong jawline and high cheekbones, as well as the flickering highlights of his blue-grey eyes.

    In the mid-20th century, Ernst Buchner published the present work as by an anonymous master possibly from the Tyrol. More recently, however, Lukas Madersbacher has refined this attribution, linking the painting to a group of portraits given to an artist known as the Master of the Angrer Portrait, so-named after the powerful bust-length likeness of Canon Gregor Angrer of Brixen, dated 1519, in the Tiroler Landesmuseum, Innsbruck. In his dissertation, “Marx Reichlich und der Meister des Angrerbildnisses" (Universität Innsbruck, 1994), Madersbacher advances a theory proposed by Erich Egg (“Marx Reichlich, der Meister des Angererbildnisses’, Zeitschrift für Kunstwissenschaft, XIV, 1960, pp. 1–18) that the entire group of portraits was painted by the Austrian painter, Marx Reichlich (fl. c.. 1485-1520). Reichlich is believed to have trained with the Tyrolean artists Friedrich and Michael Pacher in Salzburg. Kurt Löcher, who refutes Egg’s and Madersbacher’s hypothesis, has confirmed the attribution of the present painting to the Master of the Angrer Portrait on the basis of a photograph (written communication, 7 September 2015). We are grateful to Dr. Löcher and Dr. Madescbacher for their assistance in cataloguing this lot.

    Provenance

    with J. and S. Goldschmidt, Frankfurt and New York, 1928.
    Madeleine S. Stern; American Art Association-Anderson Galleries, New York, 4–7 April, 1934, lot 835, as 'Hans Baldung'.
    Private collection, America, by 1953.
    L.V. Randall, Montreal, and by descent to the present owner.


    Saleroom Notice

    Please note that the provenance should read:
    with J. and S. Goldschmidt, Frankfurt and New York, 1928.
    Madeleine S. Stern; American Art Association-Anderson Galleries, New York, 4–7 April, 1934, lot 835, as 'Hans Baldung', where acquired by the father of the present owner.


    Pre-Lot Text

    PROPERTY OF A LADY


    Literature

    C.L. Kuhn, A Catalogue of German Paintings of the Middle Ages and Renaissance in American Collections, Cambridge, 1936, p. 60, no. 239, as "schwäbisch".
    E. Buchner, Das deutsche Bildnis der Spätgotik und der frühen Dürerzeit, Berlin, 1953, pp. 120-121, no. 134, as 'Tiroler (?) Meister'.
    L. Madersbacher, Marx Reichlich und der Meister des Angrerbildnisses, Ph.D. dissertation, 1994, pp. 128-130, no. 37, as Marx Reichlich.
    L. Andergassen et al., Michael Pacher und sein Kreis, exhibition catalogue, Neustift, 1998, pp 259–261, fig. 6 (entry by L. Madersbacher).