Visions of Tondal in Bosch mode

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Image | Tondal’s action References

In a nearly choreographic movement, Tondal sweeps away, in a long flimsy veil, from a man-eating monster with open jaws.

Unverfehrt 78, dated to the 1520s.

Sold at Sotheby’s, New York, on 11 January 1996, lot 187, as a “putative Jan Wellens de Cock.”

Oil on panel, 24.1 x 31.8 cm

rkd.nl/explore/images/26250

The naked Tondal looks on as the angel shows him the punishments for the seven deadly sins, labeled in Latin. Captioned VISION TONDALI.

Unverfehrt 81, attributed to the Meister des Visio Tondali, active in Antwerp in the 1520s.

On offer in 1961 at the Fischer Gallery, Luzern.

Oil on panel, 23 x 33 cm

Not found online

The angel and Tondal, naked, are in a flying halo in the sky, looking down at a hell marked mainly by a wide-jawed monster whose mouth houses a dinner of gluttons.

Unverfehrt 82, attributed to the Meister des Visio Tondali, active in Antwerp in the 1520s.

Denver Art Museum (1948.37)

Oil on panel, 55.5 x 71.8 cm

denverartmuseum.org/object/1948.37

rkd.nl/explore/images/59984

Punishments partly resembling details from the central panel of the Garden of Earthly Delights take place on, in and around a man-shaped monster. They are shown by the angel to a fully clothed, seated, sleeping Tondal, as in a dream. Inscribed beneath Tondal Visio tondali

Unverfehrt 83, attributed to the Meister des Visio Tondali, active in Antwerp in the 1520s.

Madrid, Museo Lazaro Galdiano (02892)

Oil on panel, 53.5 x 72 cm

A good entry available on the museum online catalogue at http://catalogo.museolazarogaldiano.es/
mlgm/search/pages/Main
with search action 02892.

rkd.nl/explore/images/257694

Punishments partly resembling details from the central panel of the Garden of Earthly Delights take place on, in and around a man-shaped monster. Tondal, fully clothed, sleeps on the ground, facing away. The angel points to the scene, apparently to Tondal in a dream.

Unverfehrt 84, attributed to the Meister des Visio Tondali, active in Antwerp in the 1520s.

Owner unknown, last recorded by Max J. Friedländer in April 1922.

Oil on panel, 53 x 70.5 cm

rkd.nl/explore/images/60905

Transported into the right wing of The Garden of Earthly Delights, the naked Tondal has the ghastly punishments being administered there elucidated by the angel. Inscribed VISION TONDALI.

Unverfehrt 150, dated after 1530.

Madrid, Museo del Prado, P002054

Oil on panel, 29 x 24 cm

Under cat. nr. 150 Unverfehrt also illustrates a large painting last sold at Bonhams, London, on 3 December 2008, lot 53. The subject is now identified as the rich man Dives and the poor Lazarus in the lap of Abraham. RKD 51984.

At www.museodelprado.es/en/the-collection/ perform search for Tondal. (The complete url is very long.)

Transported into the right wing of The Garden of Earthly Delights, the naked Tondal has the ghastly punishments being administered there elucidated by the angel. Inscribed VISION TONDALI.

Memphis, Tennessee, Memphis Brooks Museum of Art (2012.26.13)

Oil on panel, 21.6 x 15.9 cm

rkd.nl/explore/images/287171

The naked Tondal is taken by the angel to an infernal realm with features derived from the right wing of the Garden of Earthly Delights.

Porto, Portugal, Fundãçao Maria Isabel Guerra Junqueiro e Luis Pinto Mesquita Carvalho[i]

Oil on panel, 44.5 x 50 cm

Panel dated to 1546 or later

http://www.porto.pt/noticias/visao-de-tondale-e-objeto-de-debate

In a landscape closer to Joachim Patinir than Bosch, the angel walks a naked Tondal across a narrow bridge.

Owner unknown. Last recorded, by Max J. Friedländer, as in a gallery in Sweden, most likely Bukowski, in 1934.

rkd.nl/explore/images/59987

Draped in a flimsy veil, Tondal is moved bodily along a precipice, with view of Boschian buildings behind them. Owner unknown. Last recorded by Max J. Friedländer at an unknown date as with James J. Kelleher, New York, who however as a framemaker may only have had the painting for framing.

Oil on panel, dimensions unknown

Attributed alternately to Jan Mandijn and Pieter Buijs.

rkd.nl/explore/images/51971

The naked Tondal is dragged across a narrow bridge by the angel. Architecture and figures are a riff on Bosch, without actual quotations.

London, Wellcome Institute (ICV 17734[ii])

Oil on panel, 33.5 x 44.5 cm

https://wellcomecollection.org/
works/c3c7b5pa

Clad only in a white winding sheet, Tondal is shown an infernal scene of tortures by the angel.

Unverfehrt, reference on p. 223

Kassel, Gemäldegalerie Alte Meister (GK 929)

Dated by Unverfehrt to the late 16th century, with few specifically Boschian features.

http://datenbank.museum-kassel.de/32049/

rkd.nl/explore/images/261839

“Unverfehrt” refers to the invaluable book by Gert Unverfehrt, Hieronymus Bosch : die Rezeption seiner Kunst im frühen 16. Jahrhundert, Berlin (Gebr. Mann) 1980

[i] Published by Maria José Goulão, “A Liminal Vision Between Dream and the Afterworld in a ‘Boschian’ Painting on the Margin of Hieronymus Bosch,” in The Centre as Margin: Eccentric Perspectives on Art, ed. Juana Antunes, Maria de Lurdes Craveiro and Carla Alexandra Gonçalves, Wilmington, Delaware (Vernon Press) 2019, pp. 3-20.

[ii] Cited from Marc Rudolf de Vrij, Jheronimus Bosch: An Exercise in Common Sense, Hilversum (M.R.V. Publishers) 2012, p. 587.


To find out what the above is about, click on Gary Schwartz, “A Last Judgment to scare the hell out of you”  

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