31
The denunciation of Susanna, Johann Peter Abesch, Sursee, around 1721.
The denunciation of Susanna, Johann Peter Abesch, Sursee, around 1721.
Glass panel painted on reverse in opaque and transparent pigments. Signed lower left "Jo. Pet. von. Esch. pinxit". With minor localised retouches. Softwood frame gilded over plaster ground, H 68, W 91 cm.
This reverse glass painting follows the engraving by Jean Audran (1667 - 1756) after a painting by Antoine Coypel (1661 - 1722), which today hangs in the Museo del Prado in Madrid (acc. no. P002247).
The depiction shows the scene in which the two elders testify falsely against Susanna in court so that she is to be sentenced to death (Daniel 13:28). However, the truth comes to light through Daniel's courageous intervention, and Susanna is spared whilst the two elders are condemned.
Johann Peter Abesch, born in Ettiswil in 1666, was one of the most important reverse glass painters of the 17th and early 18th centuries. About 85 signed reverse glass paintings from him are known. From 1710 to 1723, he was commissioned by the town of Sursee to create four large-format oil paintings on canvas for the Sursee market and town hall, based on French prints. Among them was this depiction of Susanna before the judges, along with the Judgment of Solomon (1710), Esther before Ahasuer (1722) and the Stoning of the Sabbath Defiler (1723).
Johann Peter Abesch had the unique ability to imbue his reverse glass paintings with the grandesse of large-scale works on canvas. After the Swiss tradition of donating windows and armorial panels had ended in around 1700, Johann Peter Abesch used the time-honoured technique to break new ground. He brought reverse glass painting in Sursee to international attention.
Provenance
W. Fröhlich, St. Gallen.
Private ownership, Switzerland.
Auctioned by Piasa, Paris 1998.
Auctioned by Koller, Zurich 2017.
Literature
Cf. Staffelbach, Geschichte der Luzerner Hinterglasmalerei von den Anfängen bis zur Gegenwart, Lucerne 1951, pl. 97, for a reverse glass painting after Coypel by Anna Barbara Abesch in the Schweizerische Landesmuseum Zurich, dated 1740.
Cf. Berthelier/Geyssant, La peinture sous verre un art ancien toujours actuel, Chartres 2011, p. 44.
Cf. a further reverse glass painting with the same motif by Anna Maria Franziska Pfyffer von Altishofen von Sonnenberg, a pupil of Johann Peter Abesch (auctioned by Nagel, Stuttgart 2019).
Die Verurteilung der Susanna, Johann Peter Abesch, Sursee, um 1721.
Hinterglasmalerei mit transparenten Farben. Unten links signiert "Jo. Pet. von. Esch. pinxit". Minimale punktuelle Retuschen. Über Kreidegrund vergoldeter Weichholzrahmen H 68, B 91 cm.
Das Hinterglasgemälde folgt seitenverkehrt dem Stich von Jean Audran (1667 - 1756) nach dem Gemälde von Antoine Coypel (1661 - 1722), das heute im Prado Madrid hängt (acc.no. P002247).
Die Darstellung zeigt die Szene, bei der die beiden Ältesten vor Gericht falsch gegen Susanna aussagen, damit sie mit dem Tod bestraft wird (Daniel 13,28). Durch Daniels beherztes Eingreifen kommt die Wahrheit ans Licht, und Susanna wird verschont - die beiden Alten hingegen verurteilt.
Der 1666 in Ettiswil geborene Johann Peter Abesch ist einer der bedeutendsten Hinterglasmaler des 17. und frühen 18. Jahrhunderts. Man kennt ungefähr 85 signierte Hinterglasgemälde von seiner Hand. Von 1710 bis 1723 gestaltete er im Auftrag der Stadt Sursee für das Surseer Markt- und Rathaus nach französischen Grafikblättern vier großformatige Ölbilder auf Leinwand, darunter befand sich auch diese Darstellung der Susanna vor den Richtern, neben dem 1710 entstandenen Salomonischen Urteil, Esther vor Ahasver (1722) und der Steinigung des Sabbatschänders (1723).
Johann Peter Abesch verstand es wie kein anderer, seiner Hinterglasmalerei den Charakter eines großen Gemäldes zu verleihen. Nachdem um 1700 die Schweizer Tradition der Fenster- und Wappenschenkungen geendet hatte, nutzte Johann Peter Abesch die tradierte Technik, um neue Wege zu gehen. Er verhalf der Hinterglasmalerei in Sursee zu internationaler Aufmerksamkeit.
Provenienz
W. Fröhlich, St. Gallen.
Schweizer Privatbesitz.
Auktion Piasa, Paris 1998.
Auktion Koller, Zürich 2017.
Literatur
Vgl. Staffelbach, Geschichte der Luzerner Hinterglasmalerei von den Anfängen bis zur Gegenwart, Luzern 1951, Taf. 97, das Hinterglasgemälde nach Coypel von Anna Barbara Abesch im Schweizerischen Landesmuseum Zürich, datiert 1740.
Vgl. Berthelier/Geyssant, La peinture sous verre un art ancien toujours actuel, Chartres 2011, S. 44.
Vgl. ein weiteres Hinterglasgemälde mit demselben Motiv von Anna Maria Franziska Pfyffer von Altishofen von Sonnenberg, eine Schülerin von Johann Peter Abesch (Auktion Nagel, Stuttgart 2019).
The denunciation of Susanna, Johann Peter Abesch, Sursee, around 1721.
Glass panel painted on reverse in opaque and transparent pigments. Signed lower left "Jo. Pet. von. Esch. pinxit". With minor localised retouches. Softwood frame gilded over plaster ground, H 68, W 91 cm.
This reverse glass painting follows the engraving by Jean Audran (1667 - 1756) after a painting by Antoine Coypel (1661 - 1722), which today hangs in the Museo del Prado in Madrid (acc. no. P002247).
The depiction shows the scene in which the two elders testify falsely against Susanna in court so that she is to be sentenced to death (Daniel 13:28). However, the truth comes to light through Daniel's courageous intervention, and Susanna is spared whilst the two elders are condemned.
Johann Peter Abesch, born in Ettiswil in 1666, was one of the most important reverse glass painters of the 17th and early 18th centuries. About 85 signed reverse glass paintings from him are known. From 1710 to 1723, he was commissioned by the town of Sursee to create four large-format oil paintings on canvas for the Sursee market and town hall, based on French prints. Among them was this depiction of Susanna before the judges, along with the Judgment of Solomon (1710), Esther before Ahasuer (1722) and the Stoning of the Sabbath Defiler (1723).
Johann Peter Abesch had the unique ability to imbue his reverse glass paintings with the grandesse of large-scale works on canvas. After the Swiss tradition of donating windows and armorial panels had ended in around 1700, Johann Peter Abesch used the time-honoured technique to break new ground. He brought reverse glass painting in Sursee to international attention.
Provenance
W. Fröhlich, St. Gallen.
Private ownership, Switzerland.
Auctioned by Piasa, Paris 1998.
Auctioned by Koller, Zurich 2017.
Literature
Cf. Staffelbach, Geschichte der Luzerner Hinterglasmalerei von den Anfängen bis zur Gegenwart, Lucerne 1951, pl. 97, for a reverse glass painting after Coypel by Anna Barbara Abesch in the Schweizerische Landesmuseum Zurich, dated 1740.
Cf. Berthelier/Geyssant, La peinture sous verre un art ancien toujours actuel, Chartres 2011, p. 44.
Cf. a further reverse glass painting with the same motif by Anna Maria Franziska Pfyffer von Altishofen von Sonnenberg, a pupil of Johann Peter Abesch (auctioned by Nagel, Stuttgart 2019).
Die Verurteilung der Susanna, Johann Peter Abesch, Sursee, um 1721.
Hinterglasmalerei mit transparenten Farben. Unten links signiert "Jo. Pet. von. Esch. pinxit". Minimale punktuelle Retuschen. Über Kreidegrund vergoldeter Weichholzrahmen H 68, B 91 cm.
Das Hinterglasgemälde folgt seitenverkehrt dem Stich von Jean Audran (1667 - 1756) nach dem Gemälde von Antoine Coypel (1661 - 1722), das heute im Prado Madrid hängt (acc.no. P002247).
Die Darstellung zeigt die Szene, bei der die beiden Ältesten vor Gericht falsch gegen Susanna aussagen, damit sie mit dem Tod bestraft wird (Daniel 13,28). Durch Daniels beherztes Eingreifen kommt die Wahrheit ans Licht, und Susanna wird verschont - die beiden Alten hingegen verurteilt.
Der 1666 in Ettiswil geborene Johann Peter Abesch ist einer der bedeutendsten Hinterglasmaler des 17. und frühen 18. Jahrhunderts. Man kennt ungefähr 85 signierte Hinterglasgemälde von seiner Hand. Von 1710 bis 1723 gestaltete er im Auftrag der Stadt Sursee für das Surseer Markt- und Rathaus nach französischen Grafikblättern vier großformatige Ölbilder auf Leinwand, darunter befand sich auch diese Darstellung der Susanna vor den Richtern, neben dem 1710 entstandenen Salomonischen Urteil, Esther vor Ahasver (1722) und der Steinigung des Sabbatschänders (1723).
Johann Peter Abesch verstand es wie kein anderer, seiner Hinterglasmalerei den Charakter eines großen Gemäldes zu verleihen. Nachdem um 1700 die Schweizer Tradition der Fenster- und Wappenschenkungen geendet hatte, nutzte Johann Peter Abesch die tradierte Technik, um neue Wege zu gehen. Er verhalf der Hinterglasmalerei in Sursee zu internationaler Aufmerksamkeit.
Provenienz
W. Fröhlich, St. Gallen.
Schweizer Privatbesitz.
Auktion Piasa, Paris 1998.
Auktion Koller, Zürich 2017.
Literatur
Vgl. Staffelbach, Geschichte der Luzerner Hinterglasmalerei von den Anfängen bis zur Gegenwart, Luzern 1951, Taf. 97, das Hinterglasgemälde nach Coypel von Anna Barbara Abesch im Schweizerischen Landesmuseum Zürich, datiert 1740.
Vgl. Berthelier/Geyssant, La peinture sous verre un art ancien toujours actuel, Chartres 2011, S. 44.
Vgl. ein weiteres Hinterglasgemälde mit demselben Motiv von Anna Maria Franziska Pfyffer von Altishofen von Sonnenberg, eine Schülerin von Johann Peter Abesch (Auktion Nagel, Stuttgart 2019).
Stained Glass from Four Centuries
Sale Date(s)
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on request
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Tel.: 0049 221 925729 19
Important Information
Cologne
Vernissage Friday, Nov 10, 6 pm
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a selection
Munich, St.-Anna-Platz 3
Monday, Nov 6 and Tuesday, Nov 7
Brussels, Rue du Grand Cerf 6 Grote Hertstraat
Thursday, Oct. 26 - Saturday, Oct. 29, 11 am - 5 pm
Terms & Conditions
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1. The art auction house, Kunsthaus Lempertz KG (henceforth referred to as Lempertz), conducts public auctions in terms of § 383 para. 3 sentence 1 of the Handelsgesetzbuch (the Commercial Code). as commissioning agent on behalf of the accounts of submitters, who remain anonymous. With regard to its auctioneering terms and conditions drawn up in other languages, the German version remains the official one.
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Henrik Hanstein, sworn public auctioneer
Isabel Apiarius-Hanstein, auctioneer