It comes to no surprise to any collector that a firm attribution to an painter positively impacts a painting’s value. But what does this mean in the world of Bruegel / Brueghel? The recent attribution of “Wine on St. Martin’s Day” to Bruegel the Elder from a previous attribution of Brueghel the Younger catipulted this painting’s value to 25M Euros if sold on the open market (1). An upcoming auction for Brueghel the Younger’s “The Wedding Dance” at Palais Dorotheum on October 21, 2014 will test the value of attribution for his son, in one of Bruegel / Brueghel’s most popular painting motifs.
In February of last year at rather rough looking painting of “The Wedding Dance” was put up for auction at Bill Hood and Sons in Florida in the USA.
This work, “attributed to Brueghel the Younger” was estimated at $10,000, but on the day of the auction soared above the estimate to land at a sale price of $21,000.
In the time since the auction, the painting was carefully restored, and the owner (or Palais Dorotheum, the seller) worked with the preminant scholar in the area of Brueghel the Younger, Klaus Ertz, to determine whether the work was an autograph Brueghel the Younger.
The Dorotheum website explains the attribution, “The present painting was analysed using X-ray technology and infrared reflectology. The analysis found that the pigment matched that usually used by Pieter Brueghel the Younger. Furthermore, the manner of working is that of Pieter Brueghel; the wooden panel was prepared using a white chalk base and the imprimatura was applied on the diagonal using a wide brush, as is the case with most of Brueghel’s paintings. The entire composition was meticulously sketched on to the prepared panel. In the underdrawing there are multiple pentimenti.” (The phrase “meticulously sketched” is interesting, since Christina Currie and Dominique Allart in “The Brueg(h)el Phenomenon” show that Brueghel the Younger and his workshop typically used pouncing to transfer images from the preparatory cartoon to the surface of the paining. Hopefully Currie and Allart can examine this painting to tell us more about how the image was tranferred, since it is only one of two examples of this scene in round (“tondi”) form.)
The Dorotheum description concludes by stating, “The present painting is of an exceedingly high quality and should be considered among Pieter Brueghel the Younger’s masterpieces.”
In other words, the attribution raises the price from $21,000 to up to $378,000 (the high end of the sales estimate, which I think this painting will achieve.)
Below is an image of the restored patining on sale at the auction.
The summer auction season is upon us, with Christie’s and Sotheby’s offering stellar works by Brueghel the Younger.
One of most interesting works at auction is the version of “Massacre of the Innocents” at Christie’s. It is interesting for the mystery related to the signature. From the Lot Details:
“The form of the signature on the major versions is considered to be of significance in placing them within the chronologies of Pieter the Elder’s and Pieter the Younger’s oeuvres. The Royal Collection picture is signed ‘BRVEGEL’, which is now accepted as the Elder’s signature; the Vienna version is signed ‘BRVEG’ at the extreme right edge, although the letters ‘EL’ or ‘HEL’ may have been inadvertently trimmed off; a version in Bucharest is signed ‘P. BRVEGEL’. At the time of its sale in Paris in 1979, the present version appears to have born a fragmentary date in addition to the signature, ‘.BRVEGEL. 15..’ (see Campbell, op. cit., p. 15). We are grateful to Christina Currie of KIK/IRPA for noting that the present version is unusual in that it is signed with the signature form of Bruegel the Elder after 1559, ‘.BRVEGEL.’ without an ‘H’ and without the initial ‘P’. No other versions of the Massacre of the Innocents are securely known to be signed in this way; the implications of this for its primacy in the sequence of versions painted by Brueghel the younger remains to be established.”
What happened to the date on the painting? Having the date on the work in 1979 but not present now is mysterious. Was the painting subject to a botched cleaning? Or, did a cleaning reveal that the date was likely false, and was it removed? Hopefully this mystery will be solved soon. Further, it will be very interesting to learn where this version sits in the multiple versions painted by Brueghel.
“Nord on Art” has a great write up of the upcoming Brueghel works at auction:
There was big news in the Bruegel-verse, with the fall 2011 auction season generating a new record for a price paid for a Brueghel the Younger painting. Brueghel expert Klaus Ertz called the version of “The Battle Between Carnival and Lent” which was sold “of masterly quality”, which certainly helped the work achieve a the record price of £6,873,250.
Of this sale, the New York Times’ Souren Melikian said:
“In the days of abundance, Pieter Brueghel the Younger’s vast allegory “The Battle Between Carnival and Lent” would not have aroused wild enthusiasm. No fewer than five versions of the subject have been recorded, of which three are from the painter’s own hand. These are not even original but are interpretations of Pieter Brueghel the Elder’s composition. On Dec. 7, 2006, “The Battle Between Carnival and Lent” cost £3.26 million at Christie’s. On Tuesday it rose to £6.87 million. The easy, large Brueghelian image appeals to a new generation of bidders loath to spend much time parsing the subtleties of great masters, whether in compositional inventiveness or the brilliance of brushwork.”