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The Crucifixion Gillis Congnet Circle Mid-16th Century

Crucifixion Flemish School Painting

This Crucifixion of Jesus with the Madonna, Magdalene, and St. John, in a gilded wood frame, is stylistically linked to the Netherlands area during the latter half of the 16th century, specifically to the painting school of Antwerp circle of Gillis Congnet (Antwerp 1538-Hamburg 1599).

Housed in a stunning gild frame.

The subject of the Crucifixion of Jesus, accompanied by the Madonna and Saints, is particularly common among artists active in the Kingdom of the Netherlands (present-day Netherlands, Belgium, and Luxembourg) throughout the entire 16th century, seen in many stylistic and compositional variations, including in Hendrick Goltzius (Muhlbracht, Venlo, 1558 – Haarlem 1617), Otto Van Veen (Leiden 1556–Brussels 1629), Maerten de Vos (Antwerp 1532–1603), and Gillis Congnet or Coignet (Antwerp 1538-Hamburg 1599).

This artwork is shipped from Rome. Under existing legislation, any artwork in Italy created over 70 years ago by an artist who has died requires a licence for export regardless of the work’s market price. The shipping may require additional handling days to require the licence according to the final destination of the artwork.


Features:

Materials: Wood

Technique: Oil on panel

Period: 16th Century

Designer: Circle of Gillis Congnet

Origin: Private collection

Wear: Excellent conditions, wear consistent with age and use

Dimensions (inc):

Height: 49.21

Width: 35.43

Depth: 2.75

SKU EMI 391 Categories , Tags ,


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Description

Religious painting, oil on board, Gillis Congnet atelier.

Stylistically, our painting seems to be the work of a painter familiar with the work of Gillis Congnet.

This artist began his training in a completely Flemish setting, but his time in Italy, documented to have been approximately between 1565 and 1570, lent his style a richer tone in colors and compositional verve.

Upon returning to Antwerp, he employed several apprentices and workers in his workshop. One of these may have been the artist of this Crucifixion. The features of the ivory faces of the holy figures have small eyes and mouths; the fabrics are flowing and substantial, some full of swirling, dynamic folds; the night landscape is rendered in minute detail; and it features warm, vibrant hues, almost Venetian. All these traits are distinctive of Gillis Congnet’s workshop after 1570.

We can compare it to examples like the “Crucifixion with the Madonna, Magdalene and St. John,” auctioned by Christie’s in London on 10/29/2015 (lot 20) and

the board paintings depicting “The Annunciation,” “The Adoration of the Magi,” and “St. Peter” in the Cathedral of Santa Maria della Redonda (La Rioja, Spain).

Compositional elements we consider of particular interest in this painting are the hands and the pose of the Saint John. We have not yet found this pose in any other such composition from this period and region, either in painting or prints. This could suggest that this is a true invention of this anonymous painter.

As for the historical aspects of the painting, of enormous significance is the pair of noble coats of arms to the right and left of Christ, likely placed to celebrate the union of two families through marriage. We can recognize the left one of the two coats of arms.

In the blue field, it has buckles on a golden band topped by a rampant silver greyhound, all adorned by a crown; this is the coat of arms of the French family de Lamarzelle, which was originally from Burgundy and later settled in Brittany. This family’s genealogy is known starting from a man named Guillaume (around the 16th-17th century) through Yves de lamarzelle (1908–1999) who married Odette Falcon de Longevialle (1909-1997) in 1931.

Given that the second coat of arms has the same type of crown in its upper section, we can assume that the other family, though not yet identified, had French or Flemish origins.

The painting is from the collection of a historical Belgian family, who had had it at least since the late 19th century (oral statement).

Literature: Pol Potier de Courcy, Nobiliaire et armorial de Bretagne, Vol II, pg. 148.

 

 

 

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On hold

Egidi Madeinitaly

128, Rue la Boétie 75008 Paris – France

P.IVA FR10484396627

Perito del Tribunale di Roma
4008 del 20.12.2002

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