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Hans Rottenhammer the Elder
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Description
Property from an English Private Estate
Hans Rottenhammer the Elder
Munich 1564–1625 Augsburg
The Adoration of the Shepherds
signed with monogram lower centre: HR
oil on copper
unframed: 37.5 x 27.5 cm.; 14¾ x 10⅞ in.
framed: 49.8 x 40.3 cm.; 19⅝ x 15⅞ in.
Provenance
With Arnoldie-Livie, Munich, by 1998;
With Luca Baroni, London;
From whom acquired.Catalogue note
This composition repeats, with minor alterations to the angels and the immediate foreground, Rottenhammer's large-scale Adoration of the Shepherds of 1608 in the Kunsthistorisches Museum, Vienna (inv. no. 1101).1 By that year the artist had settled in Augsburg, after a lengthy stay in Venice, where he remained for the rest of his life, barring a brief excursion in 1609 to Bückeburg, near Hannover. There he worked for Count Ernst von Schaumburg, decorating the ceiling of the so-called Goldener Saal in the newly constructed Weser-Renaissance Schloss. Following his return to his homeland, Rottenhammer's figural style remained strongly rooted in Venice, and recalls Venetian prototypes in both pose and expression.
1 See Die Gemäldegalerie des Kunsthistorischen Museums in Wien, Vienna 1991, p. 616, no. 1101.
Additional Notices & Disclaimers
Please note that Condition 12 of the Conditions of Business for Buyers (Online Only) is not applicable to this lot.
Hans Rottenhammer the Elder
Munich 1564–1625 Augsburg
The Adoration of the Shepherds
signed with monogram lower centre: HR
oil on copper
unframed: 37.5 x 27.5 cm.; 14¾ x 10⅞ in.
framed: 49.8 x 40.3 cm.; 19⅝ x 15⅞ in.
Provenance
With Arnoldie-Livie, Munich, by 1998;
With Luca Baroni, London;
From whom acquired.Catalogue note
This composition repeats, with minor alterations to the angels and the immediate foreground, Rottenhammer's large-scale Adoration of the Shepherds of 1608 in the Kunsthistorisches Museum, Vienna (inv. no. 1101).1 By that year the artist had settled in Augsburg, after a lengthy stay in Venice, where he remained for the rest of his life, barring a brief excursion in 1609 to Bückeburg, near Hannover. There he worked for Count Ernst von Schaumburg, decorating the ceiling of the so-called Goldener Saal in the newly constructed Weser-Renaissance Schloss. Following his return to his homeland, Rottenhammer's figural style remained strongly rooted in Venice, and recalls Venetian prototypes in both pose and expression.
1 See Die Gemäldegalerie des Kunsthistorischen Museums in Wien, Vienna 1991, p. 616, no. 1101.
Additional Notices & Disclaimers
Please note that Condition 12 of the Conditions of Business for Buyers (Online Only) is not applicable to this lot.
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Property from an English Private Estate
Hans Rottenhammer the Elder
Munich 1564–1625 Augsburg
The Adoration of the Shepherds
signed with monogram lower centre: HR
oil on copper
unframed: 37.5 x 27.5 cm.; 14¾ x 10⅞ in.
framed: 49.8 x 40.3 cm.; 19⅝ x 15⅞ in.
Provenance
With Arnoldie-Livie, Munich, by 1998;
With Luca Baroni, London;
From whom acquired.Catalogue note
This composition repeats, with minor alterations to the angels and the immediate foreground, Rottenhammer's large-scale Adoration of the Shepherds of 1608 in the Kunsthistorisches Museum, Vienna (inv. no. 1101).1 By that year the artist had settled in Augsburg, after a lengthy stay in Venice, where he remained for the rest of his life, barring a brief excursion in 1609 to Bückeburg, near Hannover. There he worked for Count Ernst von Schaumburg, decorating the ceiling of the so-called Goldener Saal in the newly constructed Weser-Renaissance Schloss. Following his return to his homeland, Rottenhammer's figural style remained strongly rooted in Venice, and recalls Venetian prototypes in both pose and expression.
1 See Die Gemäldegalerie des Kunsthistorischen Museums in Wien, Vienna 1991, p. 616, no. 1101.
Additional Notices & Disclaimers
Please note that Condition 12 of the Conditions of Business for Buyers (Online Only) is not applicable to this lot.
Hans Rottenhammer the Elder
Munich 1564–1625 Augsburg
The Adoration of the Shepherds
signed with monogram lower centre: HR
oil on copper
unframed: 37.5 x 27.5 cm.; 14¾ x 10⅞ in.
framed: 49.8 x 40.3 cm.; 19⅝ x 15⅞ in.
Provenance
With Arnoldie-Livie, Munich, by 1998;
With Luca Baroni, London;
From whom acquired.Catalogue note
This composition repeats, with minor alterations to the angels and the immediate foreground, Rottenhammer's large-scale Adoration of the Shepherds of 1608 in the Kunsthistorisches Museum, Vienna (inv. no. 1101).1 By that year the artist had settled in Augsburg, after a lengthy stay in Venice, where he remained for the rest of his life, barring a brief excursion in 1609 to Bückeburg, near Hannover. There he worked for Count Ernst von Schaumburg, decorating the ceiling of the so-called Goldener Saal in the newly constructed Weser-Renaissance Schloss. Following his return to his homeland, Rottenhammer's figural style remained strongly rooted in Venice, and recalls Venetian prototypes in both pose and expression.
1 See Die Gemäldegalerie des Kunsthistorischen Museums in Wien, Vienna 1991, p. 616, no. 1101.
Additional Notices & Disclaimers
Please note that Condition 12 of the Conditions of Business for Buyers (Online Only) is not applicable to this lot.
Old Master & 19th Century Paintings
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