{"id":337090,"date":"2026-07-11T14:44:49","date_gmt":"2026-07-11T12:44:49","guid":{"rendered":"https:\/\/tiberius-auctions.com\/?post_type=product&#038;p=337090"},"modified":"2026-07-11T14:48:37","modified_gmt":"2026-07-11T12:48:37","slug":"pieter-wtewael","status":"publish","type":"product","link":"https:\/\/tiberius-auctions.com\/en\/pieter-wtewael\/","title":{"rendered":"Pieter Wtewael"},"content":{"rendered":"<div class=\"elementor-element elementor-element-895eb11 elementor-widget elementor-widget-theme-post-title elementor-page-title elementor-widget-heading\" data-id=\"895eb11\" data-element_type=\"widget\" data-widget_type=\"theme-post-title.default\">\n<div class=\"elementor-widget-container\">\n<p>Pieter Wtewael<br \/>\n1596 &#8211; 1660<br \/>\nChrist with the Scribes<br \/>\nOil on canvas, relined<br \/>\n101 x 134.5 cm, with frame 115 x 149.5 cm<br \/>\nProvenance: Auction at the Dorotheum (Old Masters, 2021, Lot 84), since then in the Vienna private collection of Dr. Adrian Hollaender <b><br \/>\n<\/b><br \/>\nHollaender Collection<br \/>\nThis collection of renowned Old Masters, built up over many years with both expertise and good taste, comes from the home of the well &#8211; known Viennese lawyer, author (e.g., &#8220;Pavarotti &#8211; Addio Luciano,&#8221; &#8220;Legends and Stars of Opera&#8221;) and cultural manager Dr. Adrian Hollaender.<br \/>\nHaving grown up in a distinctly artistic environment, where his parents\u2014the actress and artist manager Univ. &#8211; Prof. Ariane Hollaender &#8211; Calix, and the legendary long &#8211; time director of the Vienna State Opera, Ioan Holender, stood out as avid art lovers and collectors, Dr. Adrian Hollaender established himself as a collector of outstanding masterpieces of painting.<br \/>\nHis collection, now being offered exclusively for auction at Tiberius Auction House, comprises select works by famous Italian masters, such as Andrea Vaccaro\u2019s well &#8211; known Old Testament painting \u201cAbraham dismissing Hagar and Ishmael,\u201d which bears his monogram; Sassoferrato\u2019s atmospheric \u201cMadonna in Prayer\u201d; or old Venetian masterpieces by Nicol\u00f2 Bambini and Francesco Corneliani and the legendary Il Mirandolese, through impressive portraits by the Turin master painter La Clementina, to Dutch masters such as van Goyen and Pieter Wtewael, as well as, as special additions, an old French tapestry and a typical Matisse.<\/p>\n<p>Pieter Wtewael, son of the prominent Utrecht painter Joachim Wtewael, is one of those artists whose independent body of work could only be clearly defined relatively late. Trained in his father\u2019s studio, he adopted his father\u2019s Mannerist style, yet simultaneously developed his own artistic signature. Although Pieter was active as a painter for only a limited period\u2014roughly between the 1620s and the early 1630s\u2014his work attests to high quality and stylistic confidence. The close connection to his father meant that numerous works were long attributed to Joachim; it was only in recent research that a more nuanced classification was achieved. Furthermore, it can be assumed that father and son occasionally worked together on paintings. The present painting, whose attribution was confirmed by Luuk Pijl, has already been the subject of an art &#8211; historical appraisal at the Dorotheum.<br \/>\nThe depicted subject, Christ among the Scribes, is taken from the Gospel of Luke (Luke 2:41 &#8211; 52) and shows the twelve &#8211; year &#8211; old Jesus in the Temple in Jerusalem, where he debates with the scholars and astonishes them with his wisdom. The scene is one of the few depictions from the childhood of Christ and offers artists the opportunity to portray both Jesus\u2019 intellectual superiority and the astonishment of the older authorities. At the same time, the episode points to the divine nature of Christ, which is already revealed at a young age. The theme was frequently taken up in 16th &#8211; and 17th &#8211; century Dutch painting, not least because of its potential for nuanced character studies and lively group scenes.<br \/>\nAt the center of the composition stands the youthful figure of Christ, highlighted by deliberate lighting and thus forming the focal point both visually and thematically. He is surrounded by numerous scholars, whose individual physiognomies and expressive gestures enliven the scene. Christ is depicted in lively motion: he gestures with his hands and turns toward a man on his left, who is presenting him with an open codex and apparently pointing to a passage in the text. To Jesus\u2019s right stands a scholar wearing a turban, who is also gesturing, thereby reinforcing the impression of an intense, almost controversial exchange. A particularly distinctive figure is the man in the background on the right, who holds his glasses to his nose and fixes a scrutinizing gaze on the boy. Other men on the right side of the painting appear to be following the conversation attentively, forming a sort of circle of listeners. Behind the central group, the dark interior opens up, revealing a view to the outside. There, two smaller figures can be discerned, which can be interpreted as Mary and Joseph, who have found their son in the temple. This spatial layering enhances the sense of depth and lends the scene an additional narrative dimension.<br \/>\nThe painting impressively illustrates Pieter Wtewael\u2019s stylistic affinity with his father\u2019s Mannerist tradition, particularly in the emphasis on expressive gestures, the nuanced characterization of the figures, and the complex compositional structure. At the same time, a certain clarity and focus emerges, suggesting an independent further development of this tradition. Within early 17th &#8211; century Utrecht painting, Pieter Wtewael thus occupies an interesting intermediate position: he preserves the artistic skill of late Mannerism, yet combines it with a stronger focus on narrative conciseness. His comparatively small but high &#8211; quality body of work makes him an important, if long &#8211; underestimated, figure in Dutch art history.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Pieter Wtewael 1596 &#8211; 1660 Christ with the Scribes Oil on canvas, relined 101 x 134.5 cm, with frame 115 x 149.5 cm Provenance: Auction at the Dorotheum (Old Masters, 2021, Lot 84), since then in the Vienna private collection of Dr. Adrian Hollaender Hollaender Collection This collection of renowned Old Masters, built up over [&hellip;]<\/p>\n","protected":false},"featured_media":337092,"template":"","meta":{"_acf_changed":false},"product_brand":[],"product_cat":[229],"product_tag":[],"class_list":{"0":"post-337090","1":"product","2":"type-product","3":"status-publish","4":"has-post-thumbnail","6":"product_cat-directsell","8":"first","9":"instock","10":"purchasable","11":"product-type-direct_sell","12":"berocket_lgv_grid","13":"berocket_lgv_list_grid"},"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.0 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Pieter Wtewael | Directsale - Tiberius<\/title>\n<meta name=\"description\" content=\"Pieter Wtewael - in Tiberius Auctions&#039; direct sales. 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Wtewael","post_content":"Pieter Wtewael\r\n1596 - 1660\r\nChristus bei den Schriftgelehrten\r\n\u00d6l auf Leinwand, doubliert\r\n101 x 134,5 cm, mit Rahmen 115 x 149,5\r\nProvenienz: Versteigerung im Dorotheum (Alte Meister, 2021, Lot 84), seither in Wiener Privatsammlung Dr. Adrian Hollaender\r\n\r\nSammlung Hollaender\r\nDie in ebenso fachkundiger wie geschmackvoller Weise jahrelang aufgebaute Sammlung renommierter Alter Meister entstammt dem Hause des bekannten Wiener Rechtsanwalts, Buchautors (z.B. \"Pavarotti - Addio Luciano\", \"Legenden und Stars der Oper\") und Kulturmanagers Dr. Adrian Hollaender.\r\nAufgewachsen in einem betont k\u00fcnstlerischen Umfeld, in dem schon seine Eltern, die Schauspielerin und K\u00fcnstlermanagerin Univ.-Prof. Ariane Hollaender-Calix, und der legend\u00e4re langj\u00e4hrige Wiener Staatsoperndirektor Ioan Holender, als ausgepr\u00e4gte Kunstfreunde und Sammlernaturen hervortraten, entwickelte sich Dr. Adrian Hollaender im Laufe der Jahre zu einem ebenso passionierten wie qualifizierten Sammler herausragender Meisterwerke der Malerei.\r\nSeine nunmehr exklusiv beim Auktionshaus Tiberius zur Versteigerung gelangende Sammlung umfasst ausgesuchte Werke ber\u00fchmter italienischer Meister, so etwa Andrea Vaccaros bekanntes von ihm monogrammiertes alttestamentarisches Bild \"Abraham dismissing Hagar and Ishmael\", Sassoferratos stimmungsvolle \"Madonna in prayer\" oder altvenezianische Meisterwerke von Nicol\u00f2 Bambini und Francesco Corneliani und den legend\u00e4ren Il Mirandolese \u00fcber eindrucksvolle Portraits der Turiner Meistermalerin La Clementina, bis hin zu holl\u00e4ndischen Meistern wie van Goyen und Pieter Wtewael, sowie als besondere Zugaben eine altfranz\u00f6sische Tapisserie und einen typischen Matisse.\r\n\r\nPieter Wtewael, Sohn des bedeutenden Utrechter Malers Joachim Wtewael, geh\u00f6rt zu jenen K\u00fcnstlern, deren eigenst\u00e4ndiges \u0152uvre erst vergleichsweise sp\u00e4t klar umrissen werden konnte. Ausgebildet im Atelier seines Vaters, \u00fcbernahm er dessen manieristische Formensprache, entwickelte jedoch zugleich eine eigene k\u00fcnstlerische Handschrift. Obwohl Pieter nur f\u00fcr einen begrenzten Zeitraum \u2013 etwa zwischen den 1620er und fr\u00fchen 1630er Jahren \u2013 als Maler t\u00e4tig war, zeugt sein Werk von hoher Qualit\u00e4t und stilistischer Sicherheit. Die enge Verbindung zu seinem Vater f\u00fchrte dazu, dass zahlreiche Arbeiten lange Zeit Joachim zugeschrieben wurden; erst in der neueren Forschung gelang eine differenziertere Einordnung. Zudem ist davon auszugehen, dass Vater und Sohn gelegentlich gemeinsam an Gem\u00e4lden arbeiteten. Das vorliegende Gem\u00e4lde, dessen Zuschreibung durch Luuk Pijl best\u00e4tigt wurde, war bereits im Dorotheum Gegenstand einer kunsthistorischen Begutachtung.\r\nDas dargestellte Thema, Christus unter den Schriftgelehrten, entstammt dem Lukasevangelium (Lk 2, 41\u201352) und zeigt den zw\u00f6lfj\u00e4hrigen Jesus im Tempel von Jerusalem, wo er mit den Gelehrten diskutiert und durch seine Weisheit erstaunt. Die Szene geh\u00f6rt zu den wenigen Darstellungen aus der Kindheit Christi und bietet K\u00fcnstlern die M\u00f6glichkeit, sowohl die intellektuelle \u00dcberlegenheit Jesu als auch die Verwunderung der \u00e4lteren Autorit\u00e4ten ins Bild zu setzen. Gleichzeitig verweist die Episode auf die g\u00f6ttliche Natur Christi, die sich bereits in jungen Jahren offenbart. In der niederl\u00e4ndischen Malerei des 16. und 17. Jahrhunderts wurde das Thema h\u00e4ufig aufgegriffen, nicht zuletzt wegen seines Potenzials f\u00fcr differenzierte Charakterstudien und lebendige Gruppenszenen.\r\nIm Zentrum der Komposition steht die jugendliche Gestalt Christi, die durch eine gezielte Lichtf\u00fchrung hervorgehoben wird und so visuell wie inhaltlich den Mittelpunkt bildet. Um ihn gruppieren sich zahlreiche Gelehrte, deren individuelle Physiognomien und ausdrucksstarken Gesten die Szene beleben. Christus ist in lebhafter Bewegung dargestellt: Er gestikuliert mit den H\u00e4nden und wendet sich einem Mann zu seiner linken Seite zu, der ihm einen aufgeschlagenen Codex pr\u00e4sentiert und offenbar auf eine Textstelle verweist. Zur Rechten Jesu befindet sich ein turbantragender Gelehrter, der ebenfalls gestikuliert und so den Eindruck eines intensiven, beinahe kontroversen Austauschs verst\u00e4rkt. Eine besonders charakteristische Figur ist der Mann im Hintergrund rechts, der seine Brille an die Nase h\u00e4lt und den Blick pr\u00fcfend auf den Knaben richtet. Weitere M\u00e4nner auf der rechten Bildseite scheinen dem Gespr\u00e4ch aufmerksam zu folgen und bilden eine Art Zuh\u00f6rerkreis. Hinter der zentralen Gruppe \u00f6ffnet sich der dunkle Innenraum und gibt den Blick nach au\u00dfen frei. Dort sind zwei kleinere Figuren zu erkennen, die als Maria und Josef interpretiert werden k\u00f6nnen, welche ihren Sohn im Tempel wiederfinden. Diese r\u00e4umliche Staffelung verst\u00e4rkt die Tiefenwirkung und verleiht der Szene zus\u00e4tzliche narrative Dimension.\r\nDas Gem\u00e4lde verdeutlicht eindrucksvoll die stilistische N\u00e4he Pieter Wtewaels zur manieristischen Tradition seines Vaters, insbesondere in der Betonung expressiver Gestik, der differenzierten Charakterisierung der Figuren und der komplexen Kompositionsstruktur. Gleichzeitig zeigt sich eine gewisse Klarheit und Konzentration, die auf eine eigenst\u00e4ndige Weiterentwicklung dieser Tradition hindeutet. Innerhalb der Utrechter Malerei des fr\u00fchen 17. Jahrhunderts nimmt Pieter Wtewael damit eine interessante Zwischenstellung ein: Er bewahrt die kunstvolle Fertigkeit des sp\u00e4ten Manierismus, verbindet diese jedoch mit einer st\u00e4rkeren Hinwendung zu erz\u00e4hlerischer Pr\u00e4gnanz. Sein vergleichsweise kleines, aber qualit\u00e4tsvolles \u0152uvre macht ihn zu einer wichtigen, wenn auch lange untersch\u00e4tzten Figur der niederl\u00e4ndischen Kunstgeschichte.<span class=\"Apple-converted-space\">\u00a0<\/span>"},"en":{"id":"337090","post_title":"Pieter Wtewael","post_content":"<div class=\"elementor-element elementor-element-895eb11 elementor-widget elementor-widget-theme-post-title elementor-page-title elementor-widget-heading\" data-id=\"895eb11\" data-element_type=\"widget\" data-widget_type=\"theme-post-title.default\">\r\n<div class=\"elementor-widget-container\">\r\n\r\nPieter Wtewael\r\n1596 - 1660\r\nChrist with the Scribes\r\nOil on canvas, relined\r\n101 x 134.5 cm, with frame 115 x 149.5 cm\r\nProvenance: Auction at the Dorotheum (Old Masters, 2021, Lot 84), since then in the Vienna private collection of Dr. Adrian Hollaender <b>\r\n<\/b>\r\nHollaender Collection\r\nThis collection of renowned Old Masters, built up over many years with both expertise and good taste, comes from the home of the well - known Viennese lawyer, author (e.g., \"Pavarotti - Addio Luciano,\" \"Legends and Stars of Opera\") and cultural manager Dr. Adrian Hollaender.\r\nHaving grown up in a distinctly artistic environment, where his parents\u2014the actress and artist manager Univ. - Prof. Ariane Hollaender - Calix, and the legendary long - time director of the Vienna State Opera, Ioan Holender, stood out as avid art lovers and collectors, Dr. Adrian Hollaender established himself as a collector of outstanding masterpieces of painting.\r\nHis collection, now being offered exclusively for auction at Tiberius Auction House, comprises select works by famous Italian masters, such as Andrea Vaccaro\u2019s well - known Old Testament painting \u201cAbraham dismissing Hagar and Ishmael,\u201d which bears his monogram; Sassoferrato\u2019s atmospheric \u201cMadonna in Prayer\u201d; or old Venetian masterpieces by Nicol\u00f2 Bambini and Francesco Corneliani and the legendary Il Mirandolese, through impressive portraits by the Turin master painter La Clementina, to Dutch masters such as van Goyen and Pieter Wtewael, as well as, as special additions, an old French tapestry and a typical Matisse.\r\n\r\nPieter Wtewael, son of the prominent Utrecht painter Joachim Wtewael, is one of those artists whose independent body of work could only be clearly defined relatively late. Trained in his father\u2019s studio, he adopted his father\u2019s Mannerist style, yet simultaneously developed his own artistic signature. Although Pieter was active as a painter for only a limited period\u2014roughly between the 1620s and the early 1630s\u2014his work attests to high quality and stylistic confidence. The close connection to his father meant that numerous works were long attributed to Joachim; it was only in recent research that a more nuanced classification was achieved. Furthermore, it can be assumed that father and son occasionally worked together on paintings. The present painting, whose attribution was confirmed by Luuk Pijl, has already been the subject of an art - historical appraisal at the Dorotheum.\r\nThe depicted subject, Christ among the Scribes, is taken from the Gospel of Luke (Luke 2:41 - 52) and shows the twelve - year - old Jesus in the Temple in Jerusalem, where he debates with the scholars and astonishes them with his wisdom. The scene is one of the few depictions from the childhood of Christ and offers artists the opportunity to portray both Jesus\u2019 intellectual superiority and the astonishment of the older authorities. At the same time, the episode points to the divine nature of Christ, which is already revealed at a young age. The theme was frequently taken up in 16th - and 17th - century Dutch painting, not least because of its potential for nuanced character studies and lively group scenes.\r\nAt the center of the composition stands the youthful figure of Christ, highlighted by deliberate lighting and thus forming the focal point both visually and thematically. He is surrounded by numerous scholars, whose individual physiognomies and expressive gestures enliven the scene. Christ is depicted in lively motion: he gestures with his hands and turns toward a man on his left, who is presenting him with an open codex and apparently pointing to a passage in the text. To Jesus\u2019s right stands a scholar wearing a turban, who is also gesturing, thereby reinforcing the impression of an intense, almost controversial exchange. A particularly distinctive figure is the man in the background on the right, who holds his glasses to his nose and fixes a scrutinizing gaze on the boy. Other men on the right side of the painting appear to be following the conversation attentively, forming a sort of circle of listeners. Behind the central group, the dark interior opens up, revealing a view to the outside. There, two smaller figures can be discerned, which can be interpreted as Mary and Joseph, who have found their son in the temple. This spatial layering enhances the sense of depth and lends the scene an additional narrative dimension.\r\nThe painting impressively illustrates Pieter Wtewael\u2019s stylistic affinity with his father\u2019s Mannerist tradition, particularly in the emphasis on expressive gestures, the nuanced characterization of the figures, and the complex compositional structure. At the same time, a certain clarity and focus emerges, suggesting an independent further development of this tradition. Within early 17th - century Utrecht painting, Pieter Wtewael thus occupies an interesting intermediate position: he preserves the artistic skill of late Mannerism, yet combines it with a stronger focus on narrative conciseness. His comparatively small but high - quality body of work makes him an important, if long - underestimated, figure in Dutch art history.<span class=\"Apple-converted-space\">\u00a0<\/span>\r\n\r\n<\/div>\r\n<\/div>"}},"image":"https:\/\/tiberius-auctions.com\/wp-content\/uploads\/2026\/07\/DIR_117-768x576.jpg","ask":15100,"bidsteps":[],"_links":{"self":[{"href":"https:\/\/tiberius-auctions.com\/en\/wp-json\/wp\/v2\/product\/337090","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/tiberius-auctions.com\/en\/wp-json\/wp\/v2\/product"}],"about":[{"href":"https:\/\/tiberius-auctions.com\/en\/wp-json\/wp\/v2\/types\/product"}],"version-history":[{"count":1,"href":"https:\/\/tiberius-auctions.com\/en\/wp-json\/wp\/v2\/product\/337090\/revisions"}],"predecessor-version":[{"id":337106,"href":"https:\/\/tiberius-auctions.com\/en\/wp-json\/wp\/v2\/product\/337090\/revisions\/337106"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/tiberius-auctions.com\/en\/wp-json\/wp\/v2\/media\/337092"}],"wp:attachment":[{"href":"https:\/\/tiberius-auctions.com\/en\/wp-json\/wp\/v2\/media?parent=337090"}],"wp:term":[{"taxonomy":"product_brand","embeddable":true,"href":"https:\/\/tiberius-auctions.com\/en\/wp-json\/wp\/v2\/product_brand?post=337090"},{"taxonomy":"product_cat","embeddable":true,"href":"https:\/\/tiberius-auctions.com\/en\/wp-json\/wp\/v2\/product_cat?post=337090"},{"taxonomy":"product_tag","embeddable":true,"href":"https:\/\/tiberius-auctions.com\/en\/wp-json\/wp\/v2\/product_tag?post=337090"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}