| 中文版 English

具体要求

其它要求

-
关闭
Workshop of Frans Verbeeck I or II, praise of folly, early 17thC, oil on canvas, 106 x 115 cm
比利时 北京时间
2021年10月20日 开拍 / 2021年10月18日 截止委托
拍品描述 翻译
Description:Workshop of Frans Verbeeck I or II, praise of folly, early 17thC, oil on canvas, 106 x 115 cm
Frans Verbeeck I (1510-1570) holds an important place in the history of Netherlandish painting as he falls between the activity of two of the greatest artists in that tradition, Hieronymous Bosch (1450-1516) and Pieter Bruegel I (c. 1525/30-1569). Karel van Mander records that Verbeeck was 'skilled in painting watercolour pieces in the manner of Bosch … From his hand, we have some amusing peasant weddings and similar pleasantries’ (K. van Mander, Het schilder-boeck, Haarlem, 1604, fol. 228r: 'desen [Frans Verbeeck] was fraey van waterverwe te maken dinghen op zijn Ieroon Bos … Van hem ist datmen siet die drollige Boeren bruyloften en derghelijcke boosten’). Verbeeck’s reputation for originality has rivalled that of other Bosch followers, such as Pieter Huys and Jan Mandijn, since his earliest artistic production.
Only one signed painting by Frans Verbeeck I is known, Fool’s Market (Belgium, private collection), and numerous works are attributed to him and his workshop, which appears to have flourished in Mechelen throughout the 16th century and into the first decades of the 17th century. Other members of the Verbeeck family include Jan Verbeeck I (1520-1569), Jan Verbeeck II (1545-after 1619), and Frans Verbeeck II (active in the 17th century). The 2003 exhibition, De zotte schilders. Moraalridders van het penseel rond Bosch, Bruegel en Brouwer (Mechelen, Centrum Voor Oude Kunst), made some strides in identifying individual hands associated with the workshop but compositions such as these remain in the canon of the overall workshop for the moment.

Oil on canvas, 106 x 115 cm

Description 'Laus Stultitiae' or 'The Praise of Folly'.
This painting shows us the folly and even the Praise of folly, in the Erasmian spirit. It unites iconographic elements from both the world of Hieronymus Bosch and the ideas of Pieter Breughel the Elder. It brings the vices together around the central theme of the removal of the stone of folly by a trepanation, a theme from the visionary world of Hieronymus Bosch (Prado, Madrid). The pride (superbia), the avarice (avaritia), the envy (invidia), the wrath (ira), the unchastity (luxuria), the gluttony (gula), the sloth or laziness seem to be the main tone in an interior that seems in a bad inn or a quack's cabinet where we as spectators threaten to pay the price if folly should conquer reason and spirit. The central theme is the cutting of the stone, where an attempt is made to cut away the stone of folly by means of skull trepanation. Since such a stone does not exist, the surgeon in question and his cronies seem like quacks or worse, fools who want to heal fools. It is therefore no coincidence that the patient's right sleeve ends in an inverted fool's hood. To its right appears anger and rage, which can give rise to folly and intemperance, such as gluttony or drunkenness. The man dressed in a yellow jerkin, incidentally, has a cap on his head that is wearing two peacock feathers, which stands for vanity and illusion (vanitas).
At the back, a raving couple seems to fall head over heels in the house. She carries her husband on her back who spills and spits a wine pitcher (prodigality), while the woman threatens to outwit the owl on the sofa, which represents wisdom, by pulling a dark hood over his open eyes, so that again foolishness and blindness can prevail. The charter, nailed to the brick wall of the interior, is blank and unwritten, which questions the whole validity of the foolish display. The patient on the far left and recovering from a cut in the skull, seated to the left of the owl, seems to sink into a long-suffering strange melancholy, the exhaustion that follows the folly.
The figure that seems to be peeking in through a barred window at the back left is just like us, contemporary spectators, who look from the real world to the world of delusion, where only folly and stupidity seem to rule.

Condition:The condition report and high-resolution pictures are available on our website www.carlobonte.be

本场其它拍品

  • 竞价阶梯
  • 快递物流
  • 拍卖规则
  • 支付方式
竞价区间 加价幅度
0
10
100
20
300
25
500
50
1,000
100
2,000
200
5,000
500
20,000
2,000
100,000
5,000
+

价格信息

拍品估价:15,000 - 20,000 欧元 起拍价格:7,500 欧元  买家佣金: 30.00% + VAT 服务费:平台服务费为成交总金额(含佣金)的3%

拍卖公司

Carlo Bonte Auctions nv
地址: Kardinaal Mercierstraat 20, 8000 Bruges, Belgium
邮编: 8000
向卖家提问

小贴士

1. 一般拍卖公司接受的付款方式有以下几种:
现金、信用卡、转账汇款、银行支票、个人支票以及PayPal支付。
使用PayPal支付时,请留意需要在账单金额的基础上额外加上 4% 的手续费。
2. 信用卡的种类有以下几种:
3. 转账汇款时请注意银行手续费
海外拍企会要求足额到账,所以请您在汇款时,选择足额到账,或在汇款金额的基础上加上汇款手续费(如25美金)。
4. 国际转账汇款时, 您需要知道海外拍卖行以下汇款信息:
* 收款人名称
* 收款人地址
* 收款人银行账号
* 收款银行国际编码(8位字母数字组合,必填项, 如: BFKKAT2K)
* 收款银行清算码(9位数字组合,选填项)
* 收款银行名称
* 收款银行地址
5. 运输相关事项
有的海外拍卖行会替您安排和协调运输, 您只需要支付相关的运费及保险费(如您需要)即可;有的海外拍卖行会推荐几家长期合作的运输公司, 这些运输公司有着良好的信誉和高质量的工作效率,您大可放心。您只需要提供您的收货地址, 竞得拍品账单。 运输公司会根据您提供的信息给您报价, 您可以在其中选择最优的报价者来承担运输任务。然后就是付款了, 信用卡是最常用的支付手段, 当然还有其他像PayPal,转账等。
6. 进口通关可能出现的关税
国际运送的包裹在进口清关过程中如需支付关税,需由包裹接受人(即买家)自行承担。 征收标准:具体征收标准和额度以海关通知和解释为准。
7. 禁拍拍品
海外拍卖会可能会出现中国法律禁止交易的物品,如枪支、管制刀具、象牙、犀角等;中国买家不得通过本平台参与上述物品的拍卖活动;任何情形下,买家均须对自己的竞拍行为独立承担责任。
服务热线:400-608-1178
查看全部小贴士