JAN VAN KESSEL THE ELDER (1626 Antwerp 1679)
A pair: Bouquets of flowers.
Oil on copper. 10 × 17 cm each.
Estimate: CHF 80 000 / 120 000
Auction on 22 March 2024
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Our March Old Masters auction features a significant number of small-format paintings on copper. Throughout the Renaissance and Baroque periods, most artists employed either canvas or wood panels. From the latter half of the 16th century, however, an increasing number of artists began painting on copper, for reasons related to practicality, effect, and the tastes of their time.
Artists since Leonardo da Vinci (1452–1519) were engaged in a search for painting supports that would withstand the test of time. Wood panels expand and contract at a different rate than the paint and the preparatory ground that cover them, leading to splits, craquelure and paint losses. Atmospheric changes and the natural drying process affect the adherence of paint on canvas, particularly when glue sizing is used, causing craquelure or more serious conservation issues with time. Restoration attempts such as canvas relining can completely flatten the aspect of the paint surface. Copper, however, expands at a rate closer to that of many paints, does not oxidise when covered with a paint layer, and provides a remarkably stable support for paintings.
JAN VAN KESSEL THE ELDER (1626 Antwerp 1679)
A pair: Bouquets of flowers.
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VICTOR WOLFVOET THE YOUNGER
(1612 Antwerp 1652)
The judgement of Solomon (Detail).
Oil on copper. 27.5 × 37 cm.
Estimate: CHF 4 000 / 6 000
Auction on 22 March 2024
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Once artists began to experiment with copper, they noticed a distinct luminosity that the metal base provided, and used it to achieve effects that were more difficult to obtain with other supports. Since a copper surface is much more uniform and non-absorbent than a canvas weave, artists were able to employ precise, extremely detailed brushstrokes, corresponding to the contemporary taste for minutely executed compositions. Another advantage of a non-absorbent, smooth surface is that areas of relief can be more easily created and defined, as well as elements such as the sky that are left ‘in reserve’, with only a thin layer of paint that allows the support itself to become part of the background. Finally, on copper, colours can be richly saturated so that they appear almost to float above the surface, an effect difficult to achieve with canvas or wooden supports.
Oil on copper paintings lend themselves to a small format, in part because the minute details are more impressive in small format, but also because large sheets of copper quickly become quite heavy. Small-format paintings were popular from the late 16th century and throughout the 17th century. They were easily transportable (which also facilitated collaborations between artists, such as the one by Jan Brueghel the Younger and Andries Snellinck in the current auction), and made for excellent gifts. This was also the age of the cabinet of curiosities, or Wunderkammer, and small-format, uniquely glowing works with virtuoso painting techniques were the perfect addition to a collection of unusual and exotic items. Small-format religious works were ideal for private devotion.
17TH C. FOLLOWER OF JAN BRUEGHEL THE ELDER
River landscape with a moated castle,
in the background the discovery of Moses.
Oil on copper. 20.2 × 28.9 cm.
Estimate: CHF 15 000 / 25 000
Auction on 22 March 2024
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JAN BRUEGHEL THE YOUNGER and ANDRIES SNELLINCK
(1601 Antwerp 1678) (1587 Antwerp 1653)
Diana at the hunt. Circa 1627–28 (detail).
Oil on copper. 70.3 × 87.7 cm.
Estimate: CHF 40 000 / 60 000
Auction: 22 March 2024
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Another practical consideration for artists was the ease of preparation. Copper plates were readily available, as they were widely used for engraving purposes, and they could be prepared relatively easily. Plates were often rubbed with garlic to provide a surface with aspersions to which the ground could adhere. A layer of primer was then applied with a brush, and evened out with a thumb or the heel of one’s hand. The final, polished surface was obtained with a soft brush or a dove’s tail feather. It is significant that glue sizing – often a culprit in the degradation of paint surface – was not essential to this process, a factor in the conservation of the works that exist today.
Artists such as Bartholomäus Spranger (1546–1611) – who worked in the court of Emperor Rudolf II (1552–1612) – and Joachim Wtewael (1566–1638), with their brilliantly executed compositions, helped to make the use of painting on copper more widespread. In the March auction at Koller, no fewer than twelve works are offered, including a miniature masterpiece by Johann König depicting the legend of St George and the dragon. While living in Rome from 1610 to 1614, König kept company with Johann Rottenhammer (1564–1625) and Adam Elsheimer (1578–1610), who both frequently painted on copper and were a decisive influence on his style. Two striking works by Jan Brueghel the Younger are also fine examples of the possibilities offered by works on copper, particularly the scene of Diana at the hunt he painted in collaboration with Andries Snellnick, whose jewel-like colours are almost perfectly preserved to this day.
JOHANN KÖNIG
St George and the dragon (detail).
Oil on copper. 14.7 × 21.2 cm.
Estimate: CHF 300 000 / 500 000
Auction on 22 March 2024
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JAN BRUEGHEL THE YOUNGER
(1601 Antwerp 1678)
Farmhouse near a pond.
Oil on copper. 18.5 × 25.8 cm.
Estimate: CHF 75 000 / 95 000
Auction: 22 March 2024
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The use of extremely fine brushstrokes to delightful effect is evident in a pair of still lifes by Jan van Kessel. Victor Wolfvoet the Younger painted ‘The Judgement of Salomon’ with an incredible, almost microscopic precision, down to the figures’ strands of hair. Wolfvoet is a highly interesting artist who has only recently begun to be extracted from the shadow of Peter Paul Rubens (1577–1640), in whose workshop he likely worked, and works previously attributed to Rubens’ studio or followers are now beginning to be attributed to Wolfvoet.
Discover these and other interesting works for the March auction in our online catalogue, or even better, come and see them in person at the preview from 15 to 19 March 2024 at Koller Auctions in Zurich.
You can browse all of our upcoming auction catalogues here:
Catalogues
PIETER SCHOUBROECK
(Hessheim before 1570–circa 1607 Frankenthal)
Fire in a Flemish city.
Oil on copper. 15.7 × 22 cm.
Estimate: CHF 18 000 / 25 000
Auction on 22 March 2024
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