Old Masters to Contemporary: Preview of Hampel Auctions

On September 25th and 26th, Hampel Fine Art Auctions in Munich will offer a wide selection of remarkable fine art: Furniture & Interior, Sculpture & Works of art, Silver, Russian Art, Rare Books, 19th - 20th Century Paintings, Old Master Paintings Part I, Old Master Paintings Part II, Hampel Living & Miscellaneous, Impressionists, Modern Art & Design.

Our experts have reviewed some of the most interesting artworks that can be viewed from Friday 20 until Monday 23 September, 10 am to 5 pm, and on Tuesday 24 September, 9 am to 12 pm.


^{Left: Dirck van Baburen, The Incredulity of Saint Thomas; Right: Benvenuto Tisi called il Garofalo, The Sermon by Paul Areopagus}

Dirck van Baburen, The Incredulity of Saint Thomas
^{Oil on canvas, 107 x 154 cm.}
This painting is a remarkable replica of a work by the Italian Baroque Master Caravaggio depicting the same subject, housed in the Sanssouci Picture Gallery, now a museum in Potsdam, Germany. It can be considered one of the most copied and replicated paintings in the first half of the 17th century, in fact are recorded many ancient copies of this work, one of them belonged to the Medici’s collections and housed in the Uffizi Galleries.
The present work is interesting for its superb pictorial quality and the use of the dramatic chiaroscuro. It was painted by the Dutch artist Dirck van Baburen, who was a leading member of the Utrecht school, deeply influenced by the realism of Caravaggio. He travelled to Rome between 1612 and 1615, where he collaborated with fellow countryman David de Haen and befriended the close follower of Caravaggio, Bartolomeo Manfredi. See Price Estimate...

Benvenuto Tisi called il Garofalo, The Sermon by Paul Areopagus
^{Oil on panel, 160 x 144 cm.}
The present painting is very similar to a large fresco by Garofalo titled “l’Antico e il Nuovo Testamento”, created between 1531 and 1535 and today held at the Palazzo dei Diamanti in Ferrara. Garofalo is one of the leading exponent of the Ferrarese school and was active in the earlier 16th century, about the same time as Dosso Dossi. His paintings was insistently classical, inspired first by the Bolognese artists, and then by Raphael and his friend Giulio Romano.
At the center of the composition is Paul Areopagus standing on a block-like pedestal and surrounded by numerous people who are listening to his words. The image has many references to Raphael's "School of Athens" in the Apostolic Palace in the Vatican, which he had previously seen during his stay in Rome when he worked under Raphael in the decoration of the Stanza della Segnatura. See Price Estimate...


^{Left: Attributed to Antonio Joli, View of Saint Mark’s Square and the Campanile; Right: Joris van Son, Pewter dish with crabs and prawns and grapes, partially peeled lemon, peaches and two wine glasses}

Attributed to Antonio Joli, View of Saint Mark’s Square and the Campanile
^{Oil on canvas, 75 x 107 cm.}
This magnificent view of Venice is attributed to Antonio Joli, an Italian painter and scenographer famous for their vedute and theatre designs. The famous Venetian writer and libertine Giacomo Girolamo Casanova praised him as a "celebrated decorative painter".
He is first documented in Venice In 1732, where he designed stage sets for the San Cassiano and San Samuele theatres, and then he returned in this city in 1754, where he became one of the 36 founding members of the Accademia di Belle Arti di Venezia.
The painting shows one of Venice’s most iconic place from an elevated point of view: the Saint Mark’s Square with the Basilica di San Marco at left and the Campanile at right is illuminated from the left, and in the distance is slightly visible the Piazzetta with the twin colums, on which are the Leone di San Marco and the statue of San Teodoro. See Price Estimate...

Joris van Son, Pewter dish with crabs and prawns and grapes, partially peeled lemon, peaches and two wine glasses
^{Oil on panel, 38.1 x 51.2 cm. Signed “J. VAN SON” (VA in ligature) lower left.}
Joris Van Son was a Flemish still-life painter principally known for his banquet still lifes, in which he displays his ability to capture material texture in the paint.
In the present painting are represented crabs and prawns on a pewter platter, with grapes, a partly peeled lemon executed with extraordinary virtuosity, peaches and two wine glasses, on a partially draped table.
This fruit still life might be also interpreted as a warning against temptation and excessive luxury, in fact, the peeled lemon may be seen as a symbol of time passing. See Price Estimate...


^{Left: Attributed to Gaspar van Wittel, View of the Campo Vaccino in Rome with the Septimius Severus Arch; Right: Attributed to Abraham Brueghel, Still life with fruit and a putto}

Attributed to Gaspar van Wittel, View of the Campo Vaccino in Rome with the Septimius Severus Arch
^{Oil on canvas, 28 x 41 cm}
The present lot shows a Roman veduta of the Campo Vaccino with the Arch of Septimius Severus at the center of the composition, flanked by other ancient buildings and ruins. It is a white marble triumphal arch dedicated in 203 AD to commemorate the Parthian victories of Emperor Septimius Severus and his two sons, Caracalla and Geta.
The painting is attributed to the Dutch painter Gaspar van Wittel's also known as Vanvitelli or "Caspare degli Occhiali", whose work has been considered an important precedent to the urban veduta-painting, which reached its highest point during the 18th century. He was the first view painter in Italy and his subjects were very influential for many artists. His designs, which were based on sketches made from nature, were made to fit horizontal formats that allowed the artist to obtain panoramic perspectives. He was particularly interested in transmitting aspects of daily life in the city rather than the representation of the idyllic and ideal views. See Price Estimate...

Attributed to Abraham Brueghel, Still life with fruit and a putto
^{Oil on canvas, 98 x 147 cm}
The Flemish painter Abraham Brueghel, son of Jan Brueghel the Younger, is especially known for his still-life paintings of southern fruits and flowers, which were typically assembled in front of a landscape as in the present work.
The luxuriant and colorful composition displays his great talent and his meticulous observation of nature as revealed in the individual pieces of fruit and flowers, which is a typical trait of Northern European painting. His sumptuous style absorbed the influence of Roman baroque painting, and in turn became the primary point of reference for artists active as still life painters in the second half of the seventeenth century. See Price Estimate...


^{Left: Théodore Chassériau, Portrait of Alice Ozy; Right: Edgar Degas, Fillette portant des fleurs dans son tablier}

Théodore Chassériau, Portrait of Alice Ozy
^{Oil on canvas, 73.5 x 59.5 cm}
In this exquisite work, Théodore Chassériau portrayed Alice Ozy, a successful French actress. She also became a famous and wealthy courtesan, counting among her ardent admirers such French luminaries as artist Gustave Doré, art collector Henri d'Orléans, the writer Victor Hugo, and the French Emperor Napoleon III Bonaparte. She is represented in Southern costume with a mirror in his hand and a rose on her hair.
Chassériau attained some measure of success in his attempt to fuse the Neoclassicism of Jean-Auguste-Dominique Ingres and the Romanticism of Eugène Delacroix. In fact he perfectly combined the rhythmical linear qualities of Ingres with the colouristic methods of the Romantic master. See Price Estimate...

Edgar Degas, Fillette portant des fleurs dans son tablier
^{Oil on canvas, 73.3 x 55.7 cm}
This delicate image of a little girl dancer carrying flowers in her apron was painted by the French painter Edgar Degas. He was primarily intrigued by the human figure, and in his many images of women, dancers and singers he strove to capture the body in unusual positions. He rejected the academic ideal of the mythical or historical subject and instead sought his figures in modern situations, such as at the ballet.
In the present painting, Degas displays his mastery in the depiction of movement. It was created in the 1860s, a period in which Degas created a number of works, which were based on well-known paintings, for instance, the copy after Diego Velázquez’s "Infanta Margarita". See Price Estimate...


^{Left: Isaac Lazarus Israel, Portrait of Sophie de Vries; Right: Alexej von Jawlensky, Female Head}

Isaac Lazarus Israel, Portrait of Sophie de Vries
^{Oil on canvas, on panel, 60 x 45 cm. Signed “Isaac Israels” lower left}
The Dutch painter Isaac Lazarus Israels was a leading figure of the Amsterdam Impressionism movement, renowned for his highly personal, expressive and free brushwork.
The sitter of the present painting is Sophie de Vries, the mistress of the artist who was portrayed by him in several paintings and drawings. Although Isaac Israels and Sophie never married, they enjoyed an affair that lasted until Sophie’s death in 1931.
The young woman is here represented in a red dress with a wide neckline, long brown hair and red cheeks. Her mouth is slightly opened and she is looking with her bright clear eyes the viewer directly. She is depicted with extensive and visible brushstrokes of vibrant and expressive colors. See Price Estimate...

Alexej von Jawlensky, Female Head
^{Watercolor and ink on paper laid on card., 28.8 x 20.2 cm}
The image of a woman’s head is here reduced to four fields structured, abstracted and linear outlines, in order to bring up new aspects of an until then still unknown transcendent spirituality.
The author of this watercolor is Alexej von Jawlensky, a Russian expressionist painter active in Germany between the late 19th and the early 20th century.
This artwork exemplifies Jawlensky’s fixation on the human face, which he rendered as a subject repeatedly and consistently throughout his career. His works, imbued with a contemplative atmosphere, evokes a sense of transcendence and mysticism. Jawlensky was indeed strongly interested in Indian philosophy and the life of Indian yogis, and this influence is evident in most of his works. See Price Estimate...


^{Left: Bernard Buffet, Floral still life; Right: Feng Zhengjie, Two young women on a terrace}

Bernard Buffet, Floral still life
^{Oil on canvas, 65 x 50.5 cm. Signed "Bernard Buffet" top left, and dated "1991" lower right}
Flower still life with high narrow orange vase on a brown table with a white actuator plate, in front of a white-yellow back wall. The vase with two bright orange Chrysanthmen and a branch with hanging by untem wisteria. For the well-known artist typical floral image with strong black outlines against a bright background. See Price Estimate...

Feng Zhengjie, Two young women on a terrace
^{Oil on canvas, 130 x 110 cm. Signed lower right and dated “Feng No. 062002-04”}
The Beijing and working artist in the international art market successfully and is known for his series "Portrait of China," large oil portraits in Warhol style, in a predominantly red and green color palette. His faces are often the most fashion models with different or spaced eyes.
In a fenced with oversized lipsticks garden two young women holding a naked with bright pink hair, the other in the traditional women's dress "qi pao" in Rose with a high-necked collar, with brauenen hair. Interesting playing the connecting tradition and modernity. See Price Estimate...

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