KOLLER VIEW 3/24

pre view. 02 5 2 The symbolic power of birds Preview of the OldMaster Paintings auction on 20 September 2024 Bird allegories are widespread in the visual arts and are sometimes complex in nature. Religious, moral, philosophical, social and even political messages can be concealed behind the depiction of birds as sym- bols. The encoding and deciphering of these hidden messages have been part of artistic production and reception for centuries. One of the most striking features of the Madonna painting by Tommaso del Mazza from his early cre- ative period around 1375 is a goldfinch (ill. 1). The baby Jesus holds the bird in his right hand. The red spot on the creature’s head symbolises the suffering of Jesus during the Passion, and its innocent fragility alludes to the sacrifice that the child will later endure. The goldfinch was also considered a symbol of health – a natural desire in the plague-stricken Italy of the 14 th century. Clara Peeters was one of the most important artists in Antwerp during the first quarter of the 17 th century, who revitalised the traditional Flemish still life in many respects. She was a pioneer with her detailed hunting still lifes, and the present painting is an early example of the artistic depiction of falconry, popular in aristo- cratic circles at the time (ill. 2). Rich in detail and ana- tomically correct, Peters depicts a majestic young per- egrine falcon with its prey. The raptor sits proudly on the breast of a partridge, next to which we recognise a kingfisher and a marsh snipe alongside bullfinches, chaffinches and skylarks. The painting remained in a family collection for generations before coming back on the market. A high-quality portrait of Lucretia by Lucas Cranach the Elder with a wealth of delicately executed details will also be offered in the 22 September auction (Ill. 3). The rendering of the flesh tones and the hair as well as the fine, almost immaterial veil and the lustrous white pearl is masterly. These elements testify to great skill and attention to detail. Some parts of the work, paint- ed around 1535–45, could be by Lucas Cranach the Younger, who worked in his father’s workshop. 3 1 Tommaso del Mazza (active 1377–1392). Madonna with Child and the Archangel Michael. Tempera on panel. 120 × 67 cm. Estimate: CHF 150 000/250 000 2 Clara Peeters (circa 1590–circa 1659). Still life with falcon and prey. Oil on panel. 33 × 53.5 cm. Estimate: CHF 300 000/500 000 3 Lucas Cranach the Elder (1472–1553). Lucretia. Oil on panel. 36.6 × 20.4 cm. Estimate: CHF 70 000/120 000 For further information Old Master Paintings Karoline Weser weser@kollerauctions.com Online Catalogues www.kollerauctions.com